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AMERICAN  COUNTRY  HOUSES 
OF  TO-DAY 


Publishers'  Announcement 


MONOGRAPH  OF  THE  WORK  OF 

McKIM,  MEAD  & WHITE 


HE  ARCHITECTURAL  ROOK  PUBLISHING 


CO.  announce  the  publication  of  a collection 


of  illustrations  relating  to  State  Capitols,  City 
Halls,  Clubs,  Libraries  and  Private  Residences.  It 
includes  reproductions  of  specially  prepared  plans, 
elevations  and  sections,  the  drawings  of  which  have 
been  made  in  the  office  of  the  architects,  under  their 
immediate  direction,  preserving  much  of  the  spirit  of 
the  compositions.  The  method  of  reproduction  is 
photogravure.  The  drawings  are  published  in  fifteen 
sections  of  twenty  plates  each  (size  14x20  inches)  and 
issued  every  alternate  month.  The  seventh  section  is 
just  about  to  be  delivered.  To  the  ambitious  archi- 
tect in  general  practice  and  to  his  assistants  the  work 
is  practically  priceless  because  it  speaks  his  language, 
giving  facts  in  response  to  an  urgent  cry  for  facts. 
It  shows  how  many  problems  have  been  solved. 


FROM  THE  YEARS  1879—1915 


71  /¥ cKIM,  MEAD  Sq  WHITE  have  authorized  the  publication 
/ y 1 of  their  work  in  such  a shape  as  to  be  of  inestimable  value 
to  architects  in  general  practice  and  to  students  of  archi- 
tecture who  make  the  Public  Library  their  hunting  ground.  For 
the  last  thirty  years  we  have  realized  that  we  are  to  be  con- 
gratulated as  a nation  upon  the  industry  and  skill  of  these  en- 
thusiasts, and  the  quiet  analytical  study  undertaken  to-day  shows 
that  our  former  estimate  rested  upon  a very  solid  foundation. 
Their  method  of  design  was  no  capricious  salutation  to  a new 
order  of  doing  things,  a new  and  pleasing  rendering  of  an  old 
problem  catching  the  eye  of  the  best  people  in  the  land,  but  a 
reassimilation  of  the  best  architectural  principles  the  world  has 
yet  seen,  for  all  of  which  we  have  indeed  to  be  profoundly  grate- 
ful. The  thirty  years  have  been  a trial  for  the  work  and  a trial 
of  public  opinion  throughout  the  length  and  breadth  of  the  land 
and,  everyone  in  it  who  knows  a good  thing  when  he  sees  it. 

Of  course,  we  must  bear  in  mind,  that  this  America  of  ours 
furnishes  for  these  gentlemen  a great,  golden  opportunity — a great 
golden  opportunity.  The  opportunity  for  monumental  buildings 
of  this  magnificence  is  not,  practicable  in  England,  France  or  Italy 
— and  Germany,  as  everyone  knows,  a world  leader  in  efficiency, 
to  (quote  a much  abused  word  just  now,  astoundingly  alive  in  many 
things,  is  singularly  deficient  in  matters  architectural. 

The  buildings  of  McKim,  Mead  Sq  White  are  not  only  once 
again  the  vitalizing  precepts  of  an  ancient  tradition  modified  in 
Italy  and  occasionally  modified  elsewhere,  but,  retranslated,  re- 
assimilated for  the  great,  glorious  country  in  which  we  live. 

Architects  the  world  over  guard  most  jealously  their  plans, 
elevations  and  sections  as  instruments  of  service  wherein  the  utter- 
most secret  resides.  Until  lately  this  preservation  has  been 
deemed  natural;  still,  in  the  light  of  modern  education,  the  archi- 
tect finds  that  it  pays  to  inform  the  public.  The  payment  is  not 
only  eulogy  and  dollars,  but  is  visible  in  the  salutation  to  the 
standard  such  work  raises  aloft.  For  like  the  eagle  at  the  head 
of  this  column,  it  is  calm,  complacent,  typifying  the  worthwhile- 
ness of  the  best  of  the  classics  in  its  adaptation  to  our  needs. 


ONCE  IN  A WHILE,  SOMEONE  SETS  A NEW  PACE  IN  AFFAIRS  ARCHITECTURAL 

That  the  house  impresses  by  the  subtlety  of  its  charm  is  not  only  a compliment  to  architect,  but 
a tribute  to  our  preference  for  frontages  deserving  rather  than  demanding  notice.  (See  page  304) 


AMERICAN  COUNTRY  HOUSES 

OF  TO-DAY 


AN  ILLUSTRATED  ACCOUNT  OF  SOME  EXCELLENT  HOUSES 
BUILT  AND  GARDENS  PLANTED  DURING  THE  LAST  FEW  YEARS 
SHOWING  UNMISTAKABLE  INFLUENCE  OF  THE  MODERN  TREND 
IN  IDEALS  ARCHITECTURAL 

By  SAMUEL  HOWE,  architect 

Exhibitor  in  Royal  Academy  of  Arts,  London 
Member  of  Architectural  League  of  New  York 
Author  of  “Indoors,”  “Bronze  the  Eternal,”  etc. 


1915 

New  York 

The  Architectural  Book  Publishing  Company 
Paul  Wenzel  and  Maurice  Krakow 
3 1 East  1 2th  Street 


DEDICATION 

IT  would  seem  that  this  is  an  opportunity  to  salute 
heartily  that  spirit  of  endeavor  which  tends  to  pene- 
trate the  mysterious  inertia  of  the  architectural 
kingdom  sufficiently  to  humanize  further  and  more  sub- 
stantially that  arrangement  of  building  and  garden 
which  goes  to  the  make-up  of  our  homes.  The  public 
to-day  is  to  he  congratulated  upon  the  large  number 
of  drawings  and  the  accompanying  chatter  which  is 
laid  at  its  feet,  and  on  the  fact  that  there  is  among  us 
an  informal  court  of  examination  and  analysis,  ever  in 
session,  which  is  qualified  to  examine  closely  so  as  to 
present  prominently  that  which  is  good  and  quite 
worth  while  and  side-track  the  rest.  While  it  is  a great 
thing  to  be  an  architect  of  houses,  it  is  a far  greater 
thing  to  be  an  architect  of  affairs,  a man  of  affairs, 
who  for  the  broadening  of  his  mind  looks  to  other 
sources  of  human  endeavor — the  drama,  the  opera,  the 
painting  of  a picture,  the  telling  of  a story,  the  play- 
ing of  a game,  the  unraveling  of  a political  situation, 
the  designing  of  some  method  to  equalize  the  burdens 
resting  upon  every  member  of  the  human  family;  and 
for  this  handful  of  qualifications,  surely  the  editorial 
room  is,  of  all  places,  the  melting  pot.  So  I dedicate 
these  pages,  such  as  they  are,  to  Mr.  H.  J.  Whigham 
as  a citizen  of  the  world. 


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“It  was  late  one  August  afternoon  when  we  walked  down  Madison 
Avenue,  stopping  to  note  the  new  residence  of  which  much  was  expected. 
Remembering  mg  promise  to  his  mother,  I devoted  to  the  pleasure  of  this 
walk  a portion  of  my  last  day  before  sailing.  Harry  is  a Beaux  Arts  man, 
a medalist!  This  was  his  first,  work.  It  was  not  merely  in  gratitude  of  the 
meed  of  praise  that  I bestowed,  but,  more  from  instinctive  love  of  beauty, 
which  prompted  him  to  exclaim  with  no  little  enthusiasm,,  pointing  to  an 
old  house  across  the  way,  literally  covered  with  creepers,  ‘What  style  of 
architecture  is  that?’  I found  myself  saying:  ‘You  are  a poet!’  For  I 
was  delighted  to  find  the  young  remembering  ivith  no  little  pride  the  possi- 
bilities of  their  buildings  adapted  to  roof  gardens  and  pergolas  which 
shelter,  in  the  summer  season,  the  early  morning  and  late  evening  meals 
with  the  sparrows  as  orchestra,  the  star-pierced  sky  for  canopy.  There  is 
no  fear  for  the  future  of  American  architecture  so  long  as  the  architect 
sees  beauty  as  the  man  of  the  world  sees  it — in  a broad,  big  way.” 


PREFATORY  NOTE 


IT  is  said  that  no  part  of  a book  is  so  intimate  as  the  preface,  where  it  is 
the  privilege  of  the  author  to  address  the  public  in  an  informal  man- 
ner, explaining,  “Why  the  book?” 

The  book  is  not  merely  a collection  of  good  houses  built  in  one  section 
of  the  country  in  furtherance  of  a particular  traditional  ideal,  but  rather  a 
collection  which  shows  unmistakably  the  influence  of  the  modern  trend  in  do- 
mestic architecture,  wherein  the  human  element  plays  a prominent  part. 
The  one  thing  which  is  obvious  is  that  it  marks  American  progress.  Our 
architects  are  no  longer  adapters  of  old  ideas,  but  insurgents.  What  Ave  need 
is  more  insurgency  in  character  building,  in  daily  life,  in  everything!  In- 
surgency is  overcoming  stupid  inertia  and  brutal  resistance  and  making  it- 
self felt  in  a practical  world.  The  architect  realizes  more  than  the  layman 
that  he  has  loitered  so  long  in  the  narrow  aisles  leading  to  the  hall  of  his 
mistress,  his  fair  goddess,  humming  her  praise,  that  he  has  often  lulled  to 
sleep  any  really  human  impulse  he  may  chance  to  have  had.  Well  within 
sight  of  the  tragi-comedy,  with  the  whole  situation  in  the  palm  of  his  hand, 
he  has  often  encouraged  rather  than  hindered  extravagance  in  manner  of 
design.  To-day  his  work  is  more  spirited,  serviceable  and  human. 

We  are  reminded  that  this  is  a pictorial  age.  It  is!  It  is  a pictorial 
age  with  certain  limitations.  This  is  not  a sign  of  discouragement,  but  of  the 
reverse.  Thousands  visiting  the  “movies”  testify  to  the  ease  with  Avhich  hu- 
man intellect  is  reached  by  means  of  pictures.  A feAv  years  ago  the  client  had 
to  do  the  best  he  could  with  pencil  notes  to  which  a wash  of  thin  color  Avas 
applied  by  means  of  camel-hair  brushes.  That,  and  the  personality  of  the 
architect,  justified  the  signing  of  the  contract!  To-day,  where  is  that  art  of 
recording  upon  paper  the  imagination,  the  design  as  Avell  as  the  hope  of  the 
architect  to  reach  a certain  goal  by  means  of  pencil,  ink  and  color?  In  our 
search  for  drawings  of  houses  AA^e  are  confronted  Avith  the  temptation  to  say 
it  is  all  the  fault  of  the  photographer,  although,  forsooth,  that  hard-working 
enthusiast  was  never  more  entitled  to  consideration.  He  is  doing  splendid 
Avork!  “Very  pretty,  but  the  thing  won’t  reproduce,”  say  editors  of  maga- 


IX 


X 


PREFATORY  NOTE 


zines,  confronted  with  the  average  sketch.  Anyone  trying  to  write  a book 
to-day  is  at  his  wits’  end  to  find  the  right  type  of  material  to  put  in  it,  and 
still  the  offices  are  crowded  with  young  men  with  bright  ideas,  able  to  draw, 
yet  lacking  that  illustrative  quality  without  which  they  cannot  reach  the  pub- 
lic. The  marginal  notes  on  the  drawing  boards  show  that  many  still  pre- 
serve intact  the  skill  to  which  I refer.  Yet  what  would  we  do,  for  instance, 
without  men  like  Julian  Buddy,  William  H.  Crocker,  Thomas  Ellison  and 
Edward  R.  Senn?  I am  citing  those  whose  work  I know,  whose  ability 
I reverence  for  skill  in  studying  their  photographic  work  from  the  archi- 
tectural standpoint  plus  the  painter  instinct. 

For  general  inspiration  and  instruction  I thank  heartily  Mr.  Charles  A. 
Platt,  and  for  the  privilege  of  reproducing  original  drawings  Mr.  John 
Russell  Pope,  Messrs.  Delano  & Aldrich,  Messrs.  Albro  & Lindeberg,  and 
Mr.  Frank  Newman,  architects. 

For  permission  to  present  in  book  form  his  interesting  article  on  the 
estate  of  Mr.  Pembroke  Jones  I am  delighted  to  thank  Mr.  IT.  J.  Whigham. 

Regarding  the  representation  of  articles  and  illustrations  which  have 
been  published  elsewhere,  permit  me  first  to  acknowledge  heartily  my  indebt- 
edness to  the  editor  of  Town  Country  and  the  president  of  The  Stuvve- 
sant  Co.,  who  have  extended  to  me  so  graciously  the  privilege  of  selecting 
from  the  pages  of  their  magazine  articles  and  cuts  which  have  appeared 
from  time  to  time.  Several  of  the  articles  are  extended  or  re-written,  and 
many  are  new.  For  the  privilege  of  reproducing  certain  cuts  and  portions  of 
articles,  I thank  heartily  Miss  Virginia  Robie,  editor  of  House  Beautiful.  I 
am  also  indebted  to  Messrs.  D.  Appleton  & Co.  for  permission  to  reproduce, 
in  part,  story  of  the  property  of  Mr.  L.  C.  Tiffany,  and  to  the  editors  of 
Architectural  Record  and  Brickbuilder , who  have  kindly  placed  at  my  dis- 
posal illustrations  of  a practical  and  serviceable  kind. 

For  valued  assistance  regarding  make-up  thanks  are  due  to  my  dear 
friend  Mr.  Floyd  Smith.  The  writing  of  the  book  gives  an  opportunity 
to  express  to  my  young  secretary,  Miss  Rose  Friedman,  my  gratitude  for 
her  encouragement  and  assistance. 


New  York,  August,  1915. 


INDEX  OF  CONTENTS 

BOOK  I 


CHAPTER  I 

THE  STUCCO  HOUSE 

The  interesting  treatment  of  a romantic  estate,  the  home  of  Mr.  Bronson  Win- 
throp,  Sy osset,  L.  I. — The  house  of  Mr.  William  A.  Delano,  Broohville,  L.  I.,  dis- 
closing a hidden  bowl-shaped  garden  in  the  woods — The  property  of  Mr.  William  J. 
Borland,  Mt.  Kisco,  N.  Y .,  involving  an  unusual  approach  with  semicircular  court — 
The  home  of  Mrs.  C.  B.  Alexander,  at  Bernardsville,  N.  J.,  embodying  significant 
emblems  of  decorative  value — The  Moorings,  on  Lake  St.  Claire,  the  jiroperty  of 
Mr.  Russell  A.  Alger — The  country  home  of  Mr.  Lloyd  C.  Oriscom,  East  Norwich, 
L.  I. — The  Lake  Forest  house  of  Mr.  A.  C.  Bartlett,  a pleasing  design  with  inde- 
pendent studio — The  Italian  tendency  of  the  Lake  Forest  home  of  Mr.  George  R. 
Thorne — Mia  Italia,  Miss  T.  H.  Graham’s  property,  Pasadena,  Cal. — The  Long 
Island,  house  and  garden  of  Mr.  A.  W.  Rossiter  at,  Glen  Cove — The  Estate  of  Mr. 
R.  II.  Houghton,  Nashotah,  W is. — The  Long  Island  home  of  Mr.  John  A.  Garver — 
Mr.  C.  E.  Proctor’s  home  at,  Great  Neck,  L.  I. — Home  of  Mr.  H.  Carpenter,  Lake 
Geneva,  Wis. — The  house  of  Mr.  Hugh  J.  McBirney,  Lake  Forest,  III, — The  estate 
of  Mr.  C.  Howard  Clark,  Jr.,  Devon,  Pa, — Mr.  C.  A.  Coffin’s  house  and  garden  at 
Locust  Valley,  L.  I. — The  country  estate  of  Mr.  Edward  C.  Hoyt,  near  Stamford, 
Conn, — The  property  of  Mr.  Robert  S.  Brewster,  Mt.  Kisco,  N.  Y. — Home  of  Mr. 
T.  H.  Kerr,  White  Plains,  N.  Y. — Home  of  Mr.  Clayton  S.  Cooper,  Fieldston , N.  Y. — 
The  Cleveland  home  of  Mr.  W.  G.  Mather — The  Rev.  J.  Hutcheson’s  home,  Warren, 
R.  I. — The  house  of  Mr.  L.  J.  Burgess,  Zanesville,  0. — Home  of  Mr.  Guido  Hanson, 
Pine  Lake,  Wis. — Gardener’s  Cottage,  St.  Martin's,  Pa. — Lodge,  stable  and  garage 
on  the  estate  of  Mr.  J.  B.  Coryell,  Menlo  Park,  Cal, — The  picturesque  estate,  near 
Wilmington,  N.  C.,  belonging  to  Mr.  Pembroke  Jones — An  interesting  group  of  six 
houses  of  marked  individuality  Pages  1 — 171 


CHAPTER  II 

THE  BRICK  HOUSE 

The  Washington  house  of  Mr.  Henry  White — The  country  home  of  Mr.  C.  B. 
MacDonald,  Southampton , L.  I. — The  estate  of  Mr.  IP.  B.  Osgood  Field,  Lenox,  Mass. 
— The  property  of  Mr.  Thomas  Hastings,  Roslyn,  L.  I. — Mr.  James  Parmelee’s 
Washington  home — The  home  of  Mr.  Herbert  L.  Pratt,  Glen  Cove,  L.  I. — Harla- 
kenden  House,  the  home  of  Mr.  Winston  Churchill,  Cornish,  N.  H. — The  Lake 
Forest  home  of  Mr.  Finley  Barrett- — Mr.  P.  S.  Theurer’s  house,  Kenilworth,  III. — 
Home  of  Mr.  R.  M.  Ellis,  Great  Neck,  L.  I. — Home  of  Miss  Emily  Watson,  White 
Plains,  N.  Y. — Attractive  stables  on  the  estates  of  Mr.  Willard  D.  Straight  at  West- 
bury,  L.  I.,  and  Mrs.  L.  Z.  Letter  at  Beverly  Farms,  Mass Pages  172 — 237 

CHAPTER  III 

THE  HALF-TIMBER  AND  FRAMED  HOUSE 

The  property  of  Mr.  E.  L.  Wintlirop,  Jr.,  Syosset,  L.  I. — The  interesting  little 
residence  of  Mrs.  Peter  F.  Collier  at  Southampton,  L.  I. — Mr.  Robert  J.  Collier’s 
estate  at  Wicatunk,  N.  J. — The  home  of  Mr.  Emerson  R.  Newell,  Greenwich,  Conn, 
— The  Vermont  home  of  Mr.  Philip  B.  Jennings  at.  Bennington — Stable  on  estate  of 
Mr.  Orville  Babcock,  Lake  Forest,  III, — Residence  of  Mr.  E.  D.  Adler,  Oconomowoc 
Lake,  Wis. — Home  of  Mr.  J.  M.  Townsend , Jr.,  Mill  Neck,  L.  I Pages  238 — 281 


XI 


INDEX  OF  CONTENTS 


xii 


CHAPTER  IV 

THE  STONE  HOUSE 

The  estate  of  Mr.  E.  IF.  Russell,  Greenwich,  Conn. — The  country  home  of  Mr. 
Franklin  Murphy,  Mendliam,  N.  J. — The  home  of  Mr.  William  J.  McCahan,  Jr., 
Moorestown,  N.  J. — Runton  Old  Hall,  Norfolk,  England — The  property  of  Mr.  W. 
Warner  Harper,  Chestnut  Hill,  Pa. — The  Washington  house,  so  prominent  in  the 
social  and  architectural  world,  belonging  to  Mrs.  Robert  R.  Hitt.  ..  .Pages  282 — 314 


BOOK  II 

CHAPTER  I 

THE  PROBLEM  OF  THE  SETTING  OF  THE  HOUSE 

The  estate  of  Mr.  George  R.  White  at  Manchester-by-the-Sea,  Mass. — The  inter- 
esting property  of  Mr.  George  Eastman  at  Rochester,  N.  Y. — The  Berkshire  estates 
of  Mr.  William  Hall  Walker  and  of  Mr.  Warren  Salisbury — The  romantic  Brook- 
line garden  of  Mrs.  John  L.  Gardner — The  home  of  Mr.  James  Rhodes  at  Ardmore, 
Pa. — The  picturesque  formal  garden  of  Mr.  Joseph  Choate  at  Stockbridge,  Mass. — - 
A scene  on  the  estate  of  Mr.  Chester  Thorne  at  Tacoma,  Wash. — The  Newport  garden 
of  Mr.  Storrs  Wells — The  Tudor  Hall  on  estate  of  Mr.  Stuart  Duncan  at  Newport — 
A group  of  suggestive  treatments  of  the  setting  of  house Pages  315 — 315 

CHAPTER  II 

WATER  AS  A DECORATIVE  AGENT 

Cascades  in  the  rock  garden  of  Mr.  John  D.  Rockefeller  on  Pocantico  Hills, 
N.  Y .—The  fountain  scheme  on  the  estate  of  Mr.  Louis  C.  Tiffany,  Cold  Spring 


Harbor,  L.  I. — The  Spaulding  estate  at  Prides  Crossing,  Mass.— A group  of  six 
illustrations  of  water  as  an  element  of  beauty Pages  310 — 402 


BOOK  III 

CHAPTER  1 

GARDEN  CITIES,  LEGENDARY  AND  REAL 

Forest  Hills  Gardens,  Forest  Hills,  L.  I.,  an  American  suburb  with  the  pic- 
turesqueness of  a Cathedral  city  of  medieval  days — Roland  Park,  the  engaging  and 
deservedly  popular  suburb  of  Baltimore,  Md.,  and  its  recent  addition,  Guilford 
District — A Hillside  Garden  House  without  a Name,  bristling  with  per- 
sonality  Pages  403 — 421 


LIST  OF  ARCHITECTS 
WHOSE  WORK  IS  HERE  ILLUSTRATED 


Note: — The  sketch  plans  and  other  views  have  been  prepared  from  blue-print  copies  of  working 
drawings , from  detailed  drawings  and  photographs  taken  at  various  times,  and  such  data  as  have  been 
procurable  from  office  of  architect.  At  the  same  time,  there  may  be  some  little  inaccuracies  for 
which  the  architect  is  not  in  any  way  responsible.  Some  sketches  he  may  never  have  seen. 


Albro  & Lindeberg,  New  York 

Home  of  Mr.  A.  W.  Rossiter,  Glen  Cove,  L.  I.  - 
“ “ “ T.  H.  Kerr,  White  Plains,  N.  Y. 

“ “ “ Clayton  S.  Cooper,  Fieldston,  N.  Y. 

“ “ “ George  Davidson,  Madison,  N.  J.  - 

“ “ “ A.  W.  Markwall,  Short  Hills,  N.  J.  - 

“ “ “ Orville  Babcock,  Lake  Forest,  Illinois 

Stable  on  estate  of  Mr.  Orville  Babcock,  Lake  Forest,  111. 

Home  of  Mr.  P.  B.  Jennings,  Bennington,  Vt. 

House  at  Hewlett,  L.  I. 

Forest  Hills  Gardens,  Forest  Hills,  L.  I. 

Atterbury,  Grosvenor,  New  York 

Forest  Hills  Gardens,  Forest  Hills,  L.  I.  - 
Roland  Park — Guilford  District,  Baltimore,  Md. 

Bailie-Scott,  M.  H.,  England 

Runton  Old  Hall,  Norfolk,  England  .... 

Barney,  J.  Stewart,  New  York 

Bungalow  on  estate  of  Mr.  Pembroke  Jones,  Pembroke  Park,  N.  C. 

Bates  & How,  New  York 

Home  of  Mr.  C.  E.  Gardner,  Lawrence  Park,  N.  Y. 

Studio  Building  at  Sagamore  Park,  N.  Y. 

Bigelow  & Wadsworth,  Boston 

Home  of  Mr.  G.  R.  White,  Manchester-by-the-Sea,  Mass.  - 

Bosworth,  W.  W.,  New  York 

Garden  on  Mr.  J.  D.  Rockefeller’s  Estate,  Pocantico  Hills,  N.  Y. 

Brite,  James,  New  York 

Home  of  Mr.  H.  L. {Pratt,  Glen  Cove,  L.  I. 

Brust  & Philipp,  Milwaukee 

Home  of  Mr.  Guido  Hanson,  Pine  Lake,  Wis. 

“ “ “ E.  A.  Adler,  Oconomowoc  Lake,  Wis. 


PAGES 

60-65 

- 124-129 

- 130-131 

166 

167 

172 

276 

- 268-275 

372 

- 406-415 


- 406-415 

- 416  419 


- 300-301 

- 156-165 

168 

238 

- 318-321 

- 378-381 

- 218-225 

- 144-147 

277 


xiii 


XIV 


LIST  OF  ARCHITECTS 


Carrere  & Hastings,  New  York 

Home  of  Mr.  Thomas  Hastings,  Roslyn,  L.  I. 

“ “ “ A.  I.  du  Pont,  Wilmington,  Del. 

“ “ “ W.  H.  Walker,  Great  Barrington,  Mass. 

Garden  of  Mr.  J.  A.  Blair,  Oyster  Bay,  L.  I. 

Coolidge,  J.  Randolph,  Jr.,  Boston 

Garden  of  Mrs.  John  L.  Gardner,  Brookline,  Mass. 

Davis,  McGrath  & Kiessling,  New  York 

House  at  Garden  City,  L.  I.  - 

Delano  & Aldrich,  New  York 

Home  of  Mr.  Bronson  Winthrop,  Syosset,  L.  I. 

“ “ “ W.  A.  Delano,  Brookville,  L.  I. 

“ “ “ W.  G.  Borland,  Mount  Kisco,  N.  Y. 

“ “ Mrs.  C.  B.  Alexander,  Bernardsville,  N.  J. 

“ “ Mr.  Lloyd  C.  Griscom,  Norwich.  L.  I. 

“ “ “ Robert  S.  Brewster,  Mount  Kisco,  N.  Y. 

“ “ “ W.  B.  Osgood  Field,  Lenox,  Mass.  - 

“ “ Miss  Emily  Watson,  White  Plains,  N.  Y.  - 

Stable  on  estate  of  Mr.  Willard  Straight,  Westbury,  L.  I. 
Home  of  Mr.  E.  L.  Winthrop,  Jr.,  Syosset,  L.  I. 

Ellicott  & Emmart,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md. 


Embury,  Aymar  II,  New  York 

Home  of  Mr.  R.  M.  Ellis,  Great  Neck,  L.  I. 
Forest  Hills  Gardens,  Forest  Hills,  L.  I.  - 

Eyre,  Wilson,  Philadelphia 

Home  of  Miss  Louise  Alger,  Great  Neck,  L.  I. 
Forest  Hills  Gardens,  Forest  Hills,  L.  I. 

Roland  Park — Guilford  District,  Baltimore,  Md. 

Farquhar,  Robert  D.,  Los  Angeles 

Home  of  Miss  T.  H.  Graham,  Pasadena,  Cal. 

Flagg,  Ernest,  New  York 

Home  of  Mr.  F.  G.  Bourne,  Oakdale,  L.  1.  - 

Fowler,  Laurence  Hall,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md. 

Garfield,  Abram,  Cleveland 

Home  of  Mr.  A.  S.  Chisholm,  Cleveland,  O. 

“ “ “ H.  G.  Dalton,  Cleveland,  O.  - 


- 198-207 

282 

- 326-331 

370 


- 336-339 


170 


4-13 

14-19 

20-25 

26-33 

42-45 

- 118 123 

- 192-197 

- 232-233 

235 

- 240-245 


- 416-419 


231 

- 406-415 


376 

- 406-415 

- 416-419 


56-59 


236 


- 416-419 


171 

369 


Gilchrist,  Edmund  B.,  Philadelphia 

Cottage,  Gardener’s,  St.  Martins,  Pa. 


148-149 


LIST  OF  ARCHITECTS  xv 

Glidden  & Friz,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md.  ------  416-419 

Green,  I.  H.,  New  York 

Home  of  Mr.  Bradish  Johnson,  Islip,  L.  I.  - - - - - - 400 

Greenley,  Howard,  New  York 

Home  of  Mr.  C.  A.  Coffin,  Locust  Valley,  L.  1.  - - - - - - 108-111 

Hastings,  Thomas,  New  York 

Home  of  Mr.  Thomas  Hastings,  Roslyn,  L.  I.  - - - - - - 198-207 

Hewitt  & Bottomley,  New  York 

Home  of  Mr.  J.  M.  Townsend,  Jr.,  Mill  Neck,  L.  I.  - - - - - 278-279 

Hoffman,  F.  Burrall,  Jr.,  New  York 

Home  of  Mr.  C.  B.  MacDonald,  Southampton,  L.  I.  - - - - - 184-191 

Howell  & Thomas,  Columbus,  O. 

Home  of  Mr.  L.  J.  Burgess,  Zanesville,  O.  - - - - - - - 140-143 

Hunt,  Myron  & Grey,  Elmer,  Los  Angeles 

Home  of  Mr.  H.  E.  Huntington,  Pasadena,  Cal.  ----..  371 

Hunt  & Hunt,  New  York 

Home  of  Mr.  Howard  Gould,  Port  Washington,  L.  1.  - - - - - 312 

Keen,  Charles  Barton,  Philadelphia 

Home  of  Mr.  C.  Howard  Clark,  Jr.,  Devon,  Pa.  ------  102-107 

“ “ “ Chauncey  Olcott,  Saratoga,  N.  Y.  - - - - - - 281 

Kilham  & Hopkins,  Boston 

Garden  of  Mrs.  W.  Scott  Fitz,  Manchester-by-the-Sea,  Mass.  - 396 

Little  & Brown,  Boston 

Home  of  Mr.  Charles  E.  Proctor,  Great  Neck,  L.  I.  - - - - - 84-95 

Garden  of  the  Spaulding  estate,  Prides  Crossing,  Mass.  -----  394-395 

Magonigle,  H.  Van  Buren,  New  York 

Home  of  Mr.  Franklin  Murphy,  Mendham,  N.  J.  - - - - - - 292  297 

McGoodwin,  Robert  R.,  Philadelphia 

Home  of  Mr.  Robert  R.  McGoodwin,  St.  Martins,  Pa.  -----  169 

McGoodwin  & Hawley,  Philadelphia 

Home  of  Mr.  W.  Warner  Harper,  Chestnut  Hill,  Pa.  .....  302-303 

Mcllvain  & Roberts,  Philadelphia 

Home  of  Mr.  James  M.  Rhodes,  Ardmore,  Pa.  ------  340-341 


McKim,  Mead  & White,  New  York 

Garden  of  Mr.  Joseph  H.  Choate,  Stockbridge,  Mass. 


342-345 


XVI 


LIST  OF  ARCHITECTS 


Mellor  & Meigs,  Philadelphia 

Home  of  Mr.  L.  T.  Beale,  St.  David’s,  Pa.  ....... 

Morris  & Erskine,  Philadelphia 

Home  of  Mr.  Samuel  N.  Rhoads,  Haddonfield,  N.  J. 

Newman,  Frank  E.,  New  York 

Home  of  Mr.  E.  W.  Russell,  Greenwich,  Conn.  .....  284 

Newman  & Harris,  New  York 

Home  of  Mr.  Edward  C.  Hoyt,  Stamford,  Conn.  ...... 

Owens  & Sisco,  Baltimore 

Roland  Park  — Guilford  District,  Baltimore,  Md.  ...... 

Palmer,  Edward  L.,  Jr.,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md.  ...... 

Parker,  Thomas  & Rice,  Boston 

Stable  on  estate  of  Mrs.  L.  Z.  Leiter,  Beverly  Farms,  Mass.  .... 

Peabody,  Wilson  & Brown,  New  York 

H ome  of  Mr.  G.  W.  Bacon,  St.  James,  L.  I. 

“ “ “ A.  M.  Brown,  St.  James,  L.  I. 

Platt,  Charles  A.,  New  York 

Home  of  Mr.  Russell  A.  Alger,  Detroit,  Mich.  ...... 

“ “ “ W.  G.  Mather,  Cleveland,  O.  ...... 

“ “ The  Rev.  Joseph  Hutcheson,  Warren,  R.  I. 

“ “ Mr.  James  Parmelee,  Washington,  D.  C.  - 

“ “ “ Winston  Churchill,  Cornish,  N.  H.  ...... 

Roland  Park — Guilford  District,  Baltimore,  Md.  ...... 

Polk,  Willis,  San  Francisco 

Stables  on  the  estate  of  Mr.  J.  B.  Coryell,  Menlo  Park,  Cal.  .... 

Pope,  John  Russell,  New  York 

Entrance  to  and  Temple  of  Love  in  Pembroke  Park,  N.  C 
Home  of  Mr.  Henry  White,  Washington,  D.  C. 

“ “ “ Robert  J.  Collier,  Wicatunk,  N.  J.  - 

“ “ Mrs.  Robert  R.  Hitt,  Washington,  D.  C.  - 

“ “ Mr.  Storrs  Wells,  Newport,  R.  I. 

“ “ “ Stuart  Duncan,  Newport,  R.  I. 

Price,  William  L.,  Philadelphia 

Roland  Park — Guilford  District,  Baltimore,  Md. 

Schneider,  Charles  S.,  Cleveland 

Home  of  Mr.  Charles  S.  Schneider,  Cleveland,  O. 

Schuchardt,  William  H.,  Milwaukee 

Home  of  Mr.  R.  W.  Houghton,  Nashotah,  Wis. 


Frontispiece  of  book, 
Title-page, 


373 


375 


291,  313 


112-117 


416-419 


416-419 


234 


280,  366 
365 


34-41 

132-135 

136-139 

208-217 

226 

416-419 


150-155 


156-165 

174-183 

250-261 

304-311 

350-355 

356-365 


416-419 


374 


66-73 


LIST  OF  ARCHITECTS 


Seipp,  E.  A.,  Chicago 

Home  of  Mr.  P.  S.  Theurer,  Pine  Lake,  Wis. 

Shaw,  Howard,  Chicago 

Home  of  Mr.  A.  C.  Bartlett,  Lake  Geneva,  Wis. 

“ “ “ G.  R.  Thorne,  Lake  Forest,  III. 

“ “ “ H.  Carpenter,  Lake  Geneva,  Wis. 

“ “ “ Hugh  J.  McBirney,  Lake  Forest,  111. 

“ “ “ Finley  Barrell,  Lake  Forest,  III. 

“ “ “ Edward  Morris,  Chicago,  111.  - 


Sill,  Howard,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md. 

Spahr,  Albert  H. 

Home  of  Mr.  J.  F.  Byers,  near  Pittsburgh,  Pa. 

Stephenson  & Wheeler,  New  York 

Home  of  Mr.  John  A.  Garver,  Oyster  Bay,  L.  I. 

Sterner,  F.  J.,  New  York, 

Forest  Hills  Gardens,  Forest  Hills,  L.  I.  - 

Street,  J.  Fletcher,  Philadelphia 

Home  of  Mr.  W.  J.  McCahan,  Moorestown,  N.  J. 

Tompkins,  J.  A.,  New  York 

Forest  Hills  Gardens,  Forest  Hills,  L.  I. 

Tubby,  F.  T.,  New  York 

Forest  Hills  Gardens,  Forest  Hills,  L.  I.  - 

Walker  & Gillette,  New  York 

Home  of  Mr.  Warren  Salisbury,  Pittsfield,  Mass. 

Wambolt,  Robert  H.,  Boston 

Home  of  Mr.  G.  R.  White,  Manchester-by-the-Sea,  Mass. 

Warner,  J.  Foster,  Rochester 

Home  of  Mr.  George  Eastman,  Rochester,  N.  Y. 

Warren  & Clark,  New  York 

Home  of  Mrs.  P.  F.  Collier,  Southampton,  L.  I. 

“ “ Mr.  E.  R.  Newell,  Greenwich,  Conn. 

Wyatt  & Nolting,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md. 


xvii 


230 


46-51 

52-55 

96-97 

- 98-101 

- 227-229 

237 


- 416  419 

423 

74-83 

- 406-415 

- 298-299 

- 406-415 

- 406-415 

- 332-335 

- 318-321 

- 322-325 

- 246-249 

- 262-267 

- 416-419 


Wyatt,  J.  B.  Noel,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md. 


416-419 


LIST  OF  PLANS 

RELATING  TO  SOME  OF  THE  PROPERTIES 


Note: — For  a long  time  it  lias  been  the  habit  of  architects  the  world  over  to  jealously  guard 
their  plans.  The  American  architect  of  to-day,  however,  realizes  not  only  their  value  as  instruments 
of  service,  telling  the  story  in  a vivid,  direct  and  unequivocal  manner,  as  memoranda  of  the  general 
scheme,  but  their  educational  importance,  which  is  far-reaching,  a splendid  tribute  to  their  service. 
We  have  been  so  fortunate  as  to  be  permitted  to  include  forty-three  plans  which  do  much  to  throw 
light  on  the  problem.  It  is  interesting  to  note  that  the  sketch  on  page  134  gives  the  property  of 
Mr.  W.  G.  Mather  before  it  was  developed.  The  one  on  the  opposite  page  shows  the  alteration.  The 
drawings  on  page  138  illustrate  the  property  of  the  Rev.  Mr.  Hutcheson  at  the  time  of  purchase  and 
scheme  as  carried  out  by  Mr.  Platt. 


Plans  of  portions  of  properties  will  be  found  on  the  following  pages:  13,  19,  23,  31,  40,  49,  65,  121, 
128,  141,  149,  163,  183,  190,  196,  206,  216,  226,  233,  244,  258,  267,  273,  299,  303,  309,  328,  335,  354,  362 
370,  384. 

House  plans  noting  only  the  arrangement  of  rooms  are  shown  on  pages  100,  147,  287,  291. 

Subsidiary  details  are  illustrated  on  pages  9,  386,  392. 


xviii 


LIST  OF  LANDSCAPE  ARCHITECTS 
WHOSE  WORK  IS  HERE  ILLUSTRATED 


Note; — In  preparing  the  sketch  plans  and  other  views  of  country  properties  the  utmost  care  has 
been  exercised  that  the  so-called  new  art  of  the  landscape  architect  may  be  properly  illustrated.  The 
sketches  are  a compilation  of  data  procured  from  various  sources,  at  various  times,  under  varying  con- 
ditions. Everyone  realizes  the  fugitive  nature  of  trees,  shrubs  and  flowers,  and  while  they  occupy  a 
prominent  place  in  the  landscape  and  in  our  hearts,  it  is  not  easy  to  record  by  means  of  pen  and 
ink.  The  illustrations  are  presented  as  memoranda  of  intent  rather  than  of  completed  fact.  Besides, 
we  must  bear  in  mind  that  the  loss  of  color  and  texture  has  undoubtedly  proved  fatal  to  many  schemes 


Duhring  & Howe,  Philadelphia 

Garden  of  Mr.  W.  Warner  Harper,  Chestnut  Hill,  Pa. 

Forest,  Ailing  De,  Rochester 

Property  of  Mr.  George  Eastman,  Rochester,  N.  Y. 

Greenleaf,  James,  New  York 

Property  of  Mr.  H.  L.  Pratt,  Glen  Cove,  L.  I. 

Langdon,  James  G.,  Baltimore 

Roland  Park — Guilford  District,  Baltimore,  Md. 

Nichols,  Rose  Standish,  Boston 

Garden  of  Mr.  C.  B.  MacDonald,  Southampton,  L.  I. 

Olmsted,  Frederick  Law,  Brookline 

Roland  Park — Guilford  District,  Baltimore,  Md. 

Olmsted  Brothers,  Brookline 

Property  of  Mr.  Franklin  Murphy,  Mendham,  N.  J. 

“ “ “ W.  Warner  Harper,  Chestnut  Hill,  Pa. 

“ “ G.  R.  White,  Manchester-by-the-Sea,  Mass. 

“ “ “ Chester  Thorne,  Tacoma,  Wash. 

Forest  Hills  Gardens,  Forest  Hills,  L.  I. 

Roland  Park — Guilford  District,  Baltimore,  Md. 

Vitale,  Ferruccio,  New  York 

Property  of  Mr.  W.  H.  Walker,  Great  Barrington,  Mass. 
View  on  Estate  of  Mr.  Samuel  Heilner,  Corno,  N.  Y. 


- 302-303 


- 322-325 


- 218-225 


- 416-419 


- 184-191 


- 416-419 


- 292-297 

- 302-303 

- 318-321 

- 346-349 

- 406-415 

- 416-419 


316,  326-331 
401 


xix 


"v.  '/V 


^ VV 


»• 


MODERN  QUEENS,  LIKE  THOSE  OF  EGYPTIAN  DAYS,  LOVE  WHITE  HOUSES 
Creepers  and  barberry  hedge,  with  their  rich  color  and  pungent  perfume,  make  a feast  fit  for  gods 


9 


CHAPTER  I 


THE  STUCCO  HOUSE 

The  interesting  treatment  of  a romantic  estate,  the  home  of  Mr.  Bronson  Win- 
throp,  Syosset,  L.  I. — The  house  of  Mr.  William  A.  Delano,  Brookville,  L.  I.,  disclosing 
a hidden  howl-shaped  garden  in  the  woods- — The  property  of  Mr.  William  J . Borland, 
Mt.  K isco,  N.  Y.,  involving  an  unusual  approach  with  semicircular  court — The  home 
of  Mrs.  C.  B.  Alexander,  at  Bernardsville,  N.  J.,  embodying  significant  emblems  of 
decorative  value — The  Moorings,  on  Lake  St.  Claire,  the  property  of  Mr.  Russell  A. 
Alger — The  country  home  of  Mr.  Lloyd  C.  Griscom,  East  Norwich,  L.  I. — The  Lake 
Forest  house  of  Mr.  A.  C.  Bartlett,  a pleasing  design  with  independent  studio — The 
Italian  tendency  of  the  Lake  Forest  home  of  Mr.  George  R.  Thorne — Mia  Italia,  Miss 
T.  H.  Graham'’ s property,  Pasadena,  Cal. — The  Long  Island  house  and  garden  of 
Mr.  A.  W.  Rossiter  at  Glen  Cove — The  estate  of  Mr.  R.  II . Houghton,  Nashotah, 
Wis  . — The  Long  Island  home  of  Mr.  John  A.  Garver — Mr.  C.  E.  Proctor's  home 
at  Great  Neck,  L.  I. — Home  of  Mr.  H.  Carpenter,  Lake  Geneva,  Wis. — The  house  of 
Mr.  Hugh  J.  McBirney,  Lake  Forest,  III. — The  estate  of  Mr.  C.  Howard  Clark,  Jr., 
Devon,  Pa. — Mr.  C.  A.  Coffin's  house  and  garden  at  Locust  Valley,  L.  I. — The 
country  estate  of  Mr.  Edward  C.  Hoyt,  near  Stamford,  Conn. — The  property  of  Mr. 
Robert  S.  Brewster,  Mt.  Kisco — Home  of  Mr.  T.  H.  Kerr,  White  Plains,  N.  Y. — 
Home  of  Mr.  Clayton  S.  Cooper,  Fieldston,  N.  Y. — The  Cleveland  home  of  Mr. 
W.  G.  Mather — The  Rev.  J . Hutcheson's  home,  Warren,  R.  I.- — The  h ouse  of  Mr. 

I.  J.  Burgess,  Zanesville,  0.- — Home  of  Mr.  Guido  Hanson,  Pine  Lake,  Wis. — Gar- 
dener's Cottage,  St.  Martins,  Pa. — Lodge,  stable  and  garage  on  the  estate  of  Mr. 

J.  B.  Coryell,  Menlo  Park,  Cal. — The  picturesque  estate,  near  Wilmington,  N.  C., 
belonging  to  Mr.  Pembroke  Jones — Group  of  six  houses  of  marked  individuality . 

S there  any  danger  of  overdoing  the  description  of  that  form  of 
white  house  which  owes  its  attraction  to  a surface  of  stucco? 
We  all  know  it  as  being  worked  upon  a foundation  of  brick, 
hollow  tile,  stone,  or  wire  lath  stretched  upon  a wooden 
frame.  In  some  subtle  way,  it  seems  that  from  the  com- 
monest and  most  ordinary  materials  the  most  picturesque  re- 
sults are  often  obtained.  Analyze,  if  you  will,  carefully  and  impartially  the 
illustrations  accompanying  this  chapter,  to  find  how  much  the  attraction  of 
the  house  centers  in  the  material,  and  the  influence  it  exercises  upon  the  land- 
scape. Stucco  in  almost  any  form,  age,  or  condition  seems  to  grow  intui- 
tively more  beautiful  every  day.  The  surface  resembles  a canvas  on  which 
nature  seems  to  breathe  a benediction,  adding  little  markings  of  its  own. 
There  is  no  end  to  its  language,  to  its  attraction,  its  coloring,  its  texture. 


3 


4 


THE  GARDEN  VIEW  SHOWS  THE  PROJECTION  OF  THE  EASTERLY  WING  AND  THE  LOGGIA 

It  gives  a very  good  idea  of  the  character  of  the  little  central  garden  with  its  tiny  fountain,  its  quaintly  detailed  fence.  Reference  to 
the  accompanying  plans  will  add  interest  to  this  view.  One  discloses  the  general  lay  of  land;  the  other  the  disposition  of  rooms  and 
the  exact  position  of  garden,  loggia,  fence  line  and  pavement.  It  pays  to  study  the  plan,  which  is  the  geography  of  the  whole  scheme 


VIEW  OF  ENTRANCE  COURT  FROM  SUMMER  ARBOR  AT  THE  TOP  OF  THE  HILL 

The  pathway  radiates  so  as  to  increase  the  apparent  length  of  the  walk.  It  opens  widely  at  the 
court  end  and  narrows  considerably  near  the  arbor.  The  distant  shore  is  visible  over  the  ridge 


Mr.  Bronson  Winthrop’s  Home,  Syosset,  L.  I. 

Delano  & Aldrich,  architects 

Illustrations  from  original  drawing  and  photographs  by  Edward  R.  Senn 

THAT  the  site  has  had  much  to  do  with  determining  the  general  treat- 
ment of  the  interesting  property  acquired  some  ten  years  ago  by 
Mr.  Bronson  Winthrop  is  seen  by  a mere  glance  at  the  photographs. 
A visit  to  the  neighborhood  discloses  still  further  the  nature  and  color  of 
the  scenery  in  that  section  of  Long  Island  which  has  so  evidently  an  individ- 
ual note  of  its  own. 

The  house  is  built  upon  the  southerly  slope  of  the  well-known  hill  prom- 
inent in  the  vicinity  of  Hempstead  and  Oyster  Bay.  While  it  is  so  located 
as  to  secure  the  enjoyment  of  the  sun  whenever  it  is  shining  and  the  shelter 
of  the  native  woods  from  the  northerly  and  easterly  winds,  it  is  kept  out  of 
sight  by  being  removed  a distance  from  the  brow  of  the  hill,  and  is  reached 
by  a deeply  cut  roadway  leading  into  the  old  country  lane  which  connects 
with  the  Flushing  and  North  Hempstead  turnpike.  The  old  country  lanes 
of  the  neighborhood  with  their  diversified  textures  and  the  orchards,  the 
native  woods,  and  even  the  sand  banks,  have  been  remembered  in  designing 
and  laying  out  the  general  scheme,  in  contriving  and  subdividing  this 
property,  so  that  while  it  is  new  in  idea  it  is  old  in  appearance.  It  is  mel- 


5 


6 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


low  in  tone.  This  quality  has  been  secured  in  a hundred  ways  by  the  free 
use  of  local  sand  with  a finishing  coat  of  stucco  for  the  walling;  by  the  plant- 
ing of  creepers  varying  in  texture  and  color  as  well  as  drawing,  which  though 
green  are  also  gray  and  dusty  purple  at  times;  and  by  the  way  certain  ma- 
jestic trees,  locust,  pine  and  cedar,  have  been  lifted  from  their  local  beds  and 
replanted  where  likely  to  he  of  more  value  to  the  picture.  It  is  maintained 
by  some  that  in  the  arrangement  of  the  setting  which  has  involved  the  re- 
moval of  many  trees  of  an  uriusual  size  the  designer  has  transfused  much  of 


THE  MAIN  ENTRANCE  TO  FORE-COURT  VIEWED  FROM  DRIVEWAY 


The  view  gives  an  excellent  idea  of  the  general  character  of  the  setting  hereabouts.  It  varies  greatly 


the  woodland  with  the  magnetism  of  his  own  robust  personality.  Locust  trees 
have  been  planted  at  the  westerly  end  of  the  house,  bringing  unmistakably  the 
graceful  quality  of  domesticity,  the  charm  of  repose. 

From  the  little  sun-parlor  a path  has  been  cut  leading  down  to  the  en- 
trance court,  which  is  reached  by  a short  flight  of  rough  steps.  Here  also 
is  a small  pool  and  a tiny  fountain.  The  entrance  court  and  terrace  have 
been  cut  deeply  into  the  shoulder  of  the  hill.  A pleasing  vista  is  to  be  en- 
joyed looking  from  this  sheltered  spot  up  the  slope  to  the  sun-parlor  with  its 
entanglement  of  creeping  roses  backed  by  Japanese  cypress,  planted  at  set 
intervals. 


MR.  BRONSON  WINTHROP’S  PIOME,  SYOSSET,  L.  I. 


7 


The  general  scheme  is  rather  large  and  ambitious  in  its  inches,  but 
never  does  it  get  away  from  the  idea  that  while  by  some  it  might  he  termed 
a manor  house,  it  is  instinctively  and  essentially  a manor  of  Long  Island. 
It  is  as  unassuming  as  the  peasant  cottage  at  Gruchy  where  Millet  was  born, 
or  the  home  so  long  associated  with  the  poet  Goethe.  Extending  west- 
erly some  nine  hundred  feet  and  one  hundred  and  twenty  feet  wide,  Ranked 
by  a double  avenue  of  Norway  maples,  is  a splendid  green,  a lawn  for  re- 
ceptions, at  the  end  of  which  is  a tennis  court  surrounded  by  a pergola. 


THE  HOODED  ENTRANCE  ACCENTS  THE  LONG  NORTHERN  FRONTAGE 
The  front  door  opens  directly  into  a paved  central  hallway,  which  is  comfortably  furnished 


Yes,  and  attention  is  also  bestowed  upon  the  flower  garden  upon  which  the 
central  hall  opens,  and  the  bulb  garden  which  is  reached  through  the  east- 
erly porch.  Here  tulips  stand  arrayed  like  soldiers  in  gay  company,  flaunt- 
ing their  colors  like  a parading  army.  Violets  are  here,  recalling  the  azure 
of  the  sky.  Of  course,  the  garden  is  bordered  with  privet  and  accented  at 
intervals  with  box  and  into  the  little  kingdom  comes  an  occasional  cedar 
enriching  with  its  shadows  and  perfume.  The  garden  is  bordered  with  a 
simple  paling,  unassuming  in  the  extreme,  and  the  trellis-like  structure  of 
the  porches  maintains  alike  the  general  idea  of  that  form  of  carpentry  work 
with  which  some  of  the  intimate  memories  of  Colonial  times  are  associated. 


8 


THE  COURT  BETWEEN  THE  EXTENDING  WINGS  OF  THE  SOUTHERN  FRONTAGE  ENCLOSES  A GARDEN 

The  porches  are  ingeniously  constructed  of  substantial  trellis  work.  They  open  direct  from  the  living  and  dining  rooms.  An  interest- 
ing essay  could  well  be  penned  regarding  the  chimneys  and  windows.  They  mean  so  much  to  a long  house  of  this  character.  This 
co-partnership  of  lines  and  proportions  horizontal  and  perpendicular,  an  ever-engaging  problem  for  the  architect,  often  spells  mystery 
for  the  public  perplexed  in  other  ways.  What  normal  mind  concerns  itself  with  complexities  when  so  beautiful  a property  is  before  it? 


MR.  BRONSON  WINTHROP’S  HOME,  SYOSSET,  L.  I. 


9 


As  the  main  drive  swings  around  into  the  entrance  court  there  is  an  old 
pond,  fed  by  underground  springs  of  great  age,  on  whose  shiny  surface,  mir- 
ror-like, the  scenes  of  to-day  pass  as  in  the  days  when  Long  Island,  then 
known  as  Nassau,  was  first  dotted  with  happy  homes,  and  the  ponds  of  the 
locality  were  valued  by  stray  cattle  and  Indians  as  indeed  jewels  beyond  price. 
It  might  readily  have  been  drained,  loaded  with  heavy  clay  so  as  to  earn  the 
classification  of  a water  garden,  a lotus-pond,  and  have  been  lined  with  pockets 


SKETCH  PLAN  OF  HOUSE  WITH  ENCLOSED  GARDEN  AND  ENTRANCE  COURT 


The  sketch  shows  general  geography  of  place  and  many  minor  comforts.  For  position  of  house  and 
its  relation  to  garden  upon  estate  turn  to  accompanying  plan  illustrated  on  page  11 


or  half  sunken  tubs  or  broad  borders  of  iris  and  other  marsh-loving  plants ; but 
no,  it  is  here  treasured  as  a mirror  pond,  and  its  value  is  shown  in  many 
ways.  As  the  visitor  enters  the  main  drive  the  bright  tantalizing  gleam  of 
the  water  is  seen  at  a distance  under  the  trees.  It  glistens  brightly  among 
the  pines  and  cedars,  the  old  apple  trees,  the  dogwood,  and  is  a stimulating 
little  surprise  in  the  plantation.  We  don’t  have  to  be  Orientals  to  treasure 
within  a veneration  for  the  crystal  springs,  forever  fresh,  clear,  inviting, 
and  yet  mysterious. 


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i^Miii'Z 


\ MIIWA*  -f 


SKETCH  PLAN  OF  PORTION  OF  PROPERTY,  SHOWING  SOME  PROMINENT  DETAILS 


The  turnpike,  driveway  leading  to  house  court,  and  the  arbor  at  the  top  of  the  hill  are  here. 
The  accompanying  plan  of  the  house  shows  the  rooms  in  detail.  This  sketch  reveals  lay  of  land 


11 


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12 


MR.  BRONSON  WINTHROP’S  HOME,  SYOSSET,  L.  I. 


13 


The  house  is  evidently  an  illustration  of  individual  thought.  Obviously 
the  architects  have  not  concerned  themselves  with  reproducing  ideas  which 
have  become  well  known  elsewhere,  but  have  endeavored  to  solve  for  them- 
selves the  various  complexities  of  the  problem  as  they  have  arisen.  In  many 
ways  it  is  a bright  and  cheerful  property,  unlike  some  European  estates, 
which,  owing  to  their  use  of  evergreens  and  certain  Jacobean  and  Tudor  en- 
richments, have  at  times  made  for  themselves  an  effect  too  often  dark,  pom- 
pous and  melancholy.  This  Long  Island  manor  is  lifted  from  that  category 
by  the  subtle  introduction  of  color,  and  by  the  skilful  changes  of  texture, 
which  lighten  the  scene  amazingly.  Doubtless,  like  many  of  the  old  places, 
it  will  in  time  be  overrun  with  brambles  and  briars,  in  delightfully  pictur- 
esque profusion.  Still  it  has  been  so  studied  that  the  lake  is  not  likely  to  be 
stagnant  beneath  marsh  plants,  nor  is  the  driveway  likely  to  he  choked  by 
jungle  and  nettles. 

The  view  from  the  little  sun-parlor  or  tea  house  extends  from  Oyster 
Bay  harbor  across  to  the  Connecticut  shore.  The  hill  is  four  hundred  feet 
above  the  water  level,  so  that  it  permits  also  at  certain  times  a view  of  the  At- 
lantic across  the  Island.  Rocky  Point,  Oak  Neck,  Great  Captain  Light  out 
in  the  bay  can  well  be  seen. 

Early  in  the  eighteenth  century  Dutch  farmers  from  Kings  and 
Queens  Counties  moved  into  this  neighborhood,  settling  in  Wolver  Hollow, 
now  known  as  Brookville;  others  made  their  homes  in  Cedar  Swamp,  the 
Glen  Head  of  to-day,  and  still  others  were  so  fortunate  as  to  find  sufficient 
attraction  to  establish  themselves  in  Eastwood,  which  for  some  reason  or 
other  is  now  called  Syosset. 

It  is  doubtless  interesting  to  recall  that  to  the  Winthrop  family,  descend- 
ing from  the  English  branch,  we  are  indebted  for  three  Governors,  in  addi- 
tion to  others  well  known  for  their  prominence  in  the  field  of  law,  sociology 
and  politics.  The  famous  old  Puritan,  John  Winthrop,  was  for  many  years 
Governor  of  Massachusetts;  Iris  eldest  son  was  one  of  the  Governors  of  the 
colony  of  Connecticut.  In  1661  the  town  of  Middletown  granted  to  “our 
much  honoured  Governor,  Mr.  John  Winthrop,”  a portion  of  the  rugged 
north  hills  known  as  the  Governor’s  Gold  Ring.  This  tract  of  land  was 
famous  for  its  lead  mines,  supplying  bullets  for  the  colony’s  use  during  the 
war.  The  intrepid  scientist  spent  days  washing  ores  and  assaying  metals 
without  any  “find”  of  great  value.  However,  he  is  said  to  have  secured 
enough  gold  for  a few  rings.  Mr.  Beekman  Winthrop,  a cousin  of  Mr. 
Bronson  Winthrop,  was  recently  the  Governor  of  Porto  Rico. 


THE  NORTHERN  VIEW  GIVES  GROUPING  OF  ROOF  LINE,  CHIMNEYS,  GABLES 
Perhaps  it  is  impertinent  in  disregard  of  the  usual,  in  reservation  of  enrichment  for  the  interior 


14 


Mr.  W.  A.  Delano’s  Home  at  Brookville,  L.  I. 

Delano  & Aldrich,  architects 

Illustrations  from  original  drawing  and  photographs  hy  Edward  R.  Senn 


N this  age  of  great  wealth  many  of  our  newly  designed  gardens 
are  inspired  primarily  by  an  architectural  motive.  So  it  is 
certainly  very  comforting  to  realize  that  once  in  a while  some- 
one approaches  the  subject  from  a more  warmly  human  con- 
sideration, realizing  the  welfare  of  the  trees  and  plants  and 
the  quickening  influence  of  their  association  upon  our  daily 
life  at  the  risk  of  making  the  house  merely  an  incident  in  the  general  scheme 
of  things.  It  is  pleasing  to  hear  of  someone  going  into  the  woods  to  build 
a house  and  to  plant  a garden,  yet  so  contriving  the  design  that  the  woods 
remain  intact  and  unimpaired,  entering  into  the  design,  forming  a setting 
for  the  richly  planted  border  of  flowers;  in  other  words,  that  the  wildness 
and  general  abandon  of  the  woods  becomes,  as  it  were,  a climax  which  is 
fostered  by  the  artificiality  the  composition  has  entailed. 

The  accompanying  views  illustrate  graphically  one  such  occasion  where 
a man  of  affairs,  who  happens  to  be  an  architect  and  the  owner  of  the  prop- 
erty of  which  he  makes  a residence  for  his  family,  is  inspired  by  some  such 
motive.  It  is  interesting  because  among  other  things  he  is  known  as  a 
beauoc  arts  enthusiast,  for  years  closely  associated  with  serious  academic 
schemes  of  considerable  moment.  The  legal  fraternity  of  England  say  that 
a man  who  will  insist  upon  acting  for  himself  in  a professional  capacity  has 
a fool  for  a client!  However,  the  designer  of  this  interesting  place  evidently 
does  not  come  under  that  category. 

Among  the  oaks  and  hazels,  the  chestnuts,  locusts  and  cedars  of  Long 
Island  in  that  particular  portion  of  the  “Land  of  Pastimes”  lying  between 
Brookville  and  Syosset  is  Mr.  Delano’s  property  of  some  thirty  acres, 
which  has  in  its  make-up  as  viewed  to-day  both  individuality  and  romance 
as  well  as  distinction.  It  is  a house  on  a hillside  with  a hidden  garden, 
literally  a nook  or  bower  in  the  wood,  picturesque,  very  informal,  bearing 
no  architectural  relation  to  the  house.  The  layout  is  fantastic,  full  of  lit- 
tle whimsicalities,  glowing  with  sunshine  and  color  and  fragrant  with  the 
perfume  of  many  flowers. 

Approaching  the  property  from  the  main  road  the  house  is  to  the  left 


15 


16 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


or  southern  side  of  the  driveway  facing  the  meadow  land,  overlooking  the 
valley  with  its  broad,  hollow  woodland  in  the  neighborhood  of  Wheatley 
and  Old  Westbury. 

It  is  so  located  on  the  hillside  as  not  only  to  invite  a full  enjoyment 
of  the  distance  but  also  to  be  kept  as  close  down  to  the  ground  as  possible 
and  to  he  sheltered  from  the  wind  storms,  living  up  to  the  general  idea 
implied  by  the  design,  that  it  be  a garden  house,  a cottage  in  the  woods, 


THE  ENTRANCE  PORCH  IS  REACHED  BY  DESCENDING  FROM  THE  ROAD 
The  house  makes  an  interesting  sky-line  in  which  the  trees  and  bushes  play  an  important  part 


happy  among  the  trees  and  shrubs  rather  than  a thing  standing  alone  sep- 
arate and  distinct,  dignified  possibly  hut  too  isolated  and  detached. 

It  is  a small  house  with  an  exalted  roof  and  gables  somewhat  after  the 
type  favored  in  England  of  late,  delightfully  informal  and  comfortable. 
The  window  openings  are  dressed  after  the  fashion  of  the  Tudor  period  by 
bricks  cunningly  set  into  the  heavy  walling.  The  garden  elevation  dis- 
closes an  interesting  sleeping  porch  and  in  many  ways  the  roof  line  is  pic- 
turesque with  its  gables  and  chimneys. 

The  entrance  is  reached  by  descending  several  steps  from  the  drive- 
way.  There  still  lingers  a number  of  old  apple  trees  which  suggested 
somewhat  the  shaping  of  the  terrace,  and  one  which  is  low  in  branches  and 


MR.  W.  A.  DELANO’S  HOME  AT  BROOKVILLE,  L.  I. 


17 


fantastic  in  drawing  guards  the  fountain  that  drips  from  the  ivied  wall  at 
the  end  of  the  pergola.  In  an  unusual  and  romantic  manner  the  outline  of 
the  terrace  is  built  “dry”  with  pockets  for  creepers.  Its  slight  elevation  is 
also  accented  regularly  by  low  shrubs  planted  at  intervals,  a friendly  accent 
changing  the  texture  of  things  acceptably. 

Glancing  at  the  plan  accompanying,  it  will  be  found  that  A shows 
the  position  of  the  family  living  room  with  its  big  fireplace,  its  numerous 
casements  opening  to  the  ground  and  onto  the  loggia  indicated  by  the  let- 


VIEW  DISCLOSING  END  OF  HOUSE  AND  PORTION  OF  TERRACE 
The  terrace  is  of  the  domestic  type,  informal  but  graceful  and  accented  with  bushes 

ter  J.  B denotes  the  paved  entrance  hall  and  C the  dining  room.  D marks 
the  den,  F the  servants’  hall. 

Approaching  from  the  main  road  and  turning  to  the  right  in  a north- 
erly direction  we  are  compelled  to  climb  the  bank  by  means  of  rude  stone 
steps  until  we  reach  the  center  of  what  would  ordinarily  be  the  darkest  sec- 
tion of  the  little  wood  where  the  path  swings  round  in  a circle  in  the  middle 
of  which  is  hidden  a bowl-shaped  garden.  This  is  a surprise.  The  grove 
which  enclosed  this  unexpected  bower  spreads  itself  over  the  broad  shoulder 
of  the  hill  very  much  as  it  chooses  and  has  been  transformed  into  a fairy  glen 
by  skilful  planting  and  also  by  the  timely  omission  of  the  usual  architectural 


18 


Casements  from  the  principal  rooms  open  directly  upon  the  terrace  toward  the  meadows.  It  is  a house  for  the  lover  of  outdoors 


MR.  W.  A.  DELANO’S  HOME  AT  BROOKVILLE,  L.  1. 


19 


trimmings.  Towards  the  north  and  west  there  is  an  opening  in  the  grove, 
the  one  giving  an  unexpected  picture,  the  other  admitting  the  sunlight. 
Here  an  orange  gleam  flames  in  among  the  shadows,  revealing  the  center  of 
the  howl  with  a sunken  fountain  and  a thin  jet  of  water.  With  this  as  a 
center  the  architect  has  worked  insidiously  to  build  up  a picture;  from  it 
in  various  directions  the  pathway  opens  up  into  other  little  surprises,  other 
sections  of  the  hidden  garden.  He  has  evidently  realized  that  a wood  is 
something  more  than  a collection  of  trees ; it  is  a glorious  opportunity,  a rich 

treasure  with  which  to  add  at 
right  places  the  rare  element  of 
color.  A rose  bower,  a Japanese 
tea  arbor,  are  here,  and  visible 
only  from  a certain  angle  a white 
statue  of  a child  at  play.  Encir- 
cling the  sunken  bowl  is  a broad, 
well-selected  border  of  flowers, 
Chinese  lilies,  dahlias,  great  va- 
riety of  phlox  and  a remarkable 
collection  of  asters.  These  in 
turn  are  sheltered  and  backed  up 
by  a high  hedging  of  privet,  per- 
mitted to  grow  pretty  much  as 
it  will  so  that  it  runs  into  and 
forms  part  of  the  low  hushes  of 
the  neighborhood,  and  climbs 
into  the  lower  branches  of  the 
cedars  and  locusts.  The  Japa- 
nese arbor  is  a resting  place  for 
afternoon  tea  and  here  it  is  that 
the  antics  of  the  cupids  can  best 
he  enjoyed.  The  one  on  the 
western  pedestal  across  the 
howl,  a dancing  figure  playing 
the  tambourine,  seems  to  chal- 
lenge the  cupid  in  the  center  of 
the  rose  bower  beyond. 

A formal  arbor  commands  an  uninterrupted  view  of  the  historeial  sec- 
tion which  is  forever  associated  with  Oyster  Bay.  This  grove  husbanding  the 
hidden  garden  stands  three  hundred  feet  above  the  sea  in  the  center  of  a pano- 
rama which  is  not  alone  interesting  from  its  pictorial  but  its  social  radius. 


Showing  some  preferences  of  the  architect.  1 1 
also  discloses  the  hidden  bowl-shaped  garden  and 
the  steps  up  the  hank  by  which  it  is  reached.  Here 
also  are  the  orchard,  the  rose  garden  and  the  Japa- 
nese arbor,  the  fountain  bower  and  amorini 


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20 


VIEW  SHOWS  THE  GARDEN  FRONTAGE  FACING  THE  BEDFORD  HILLS  IN  THE  DISTANCE 


Mr.  W.  G.  Borland’s  Home  at  Mount  Kisco,  N.  Y. 

Delano  & Aldrich,  architects 

Illustrations  from  original  drawings  and  photographs  by  Harry  Coutant 

HIS  attractive  little  property  is  interesting  because  it  shows 
briefly  a thoughtful  and  conscientious  treatment  of  a hill- 
side estate.  It  is  a scheme  essentially  alive.  It  shows  the 
alertness  of  the  architects  in  their  quick  grasp  of  the  unusual 
opportunities  of  the  site. 

To  reach  the  fore-court  of  this  little  Mount  Kisco,  N.  Y., 
property,  belonging  to  Mr.  W.  G.  Borland,  we  are  invited  to  descend  from 
the  roadway  of  the  upper  level,  entering  by  a semicircular  antechamber, 
so  to  speak.  This  aproach  is  very  well  contrived  and  so  picturesquely 
planted  as  to  accent  agreeably  the  serious  outline  of  the  concrete  wall,  which 
here  joins  the  walling  of  the  upper  boundary.  This  fore-court  is  delight- 
fully contrived;  it  extends  back  into  the  bank  and  by  carefully  selected 
trees  and  shrubs,  encircling  a recessed  fountain,  makes  a little  climax 
which  is  refreshing  and  decidedly  unusual  for  so  small  a property.  It 
is,  at  is  were,  a picture  within  a picture,  unexpected,  just  a little  thoughtful 
tribute  to  the  romanticism  of  the  workaday  world,  a surprise  that  we  notice 
as  we  leave  the  place,  or  as  we  enter  at  the  side  of  the  lower  road  through 
the  orchard,  or  pass  out  westerly  along  the  upper  terrace  towards  the  rose 
garden.  It  is  a thoughtfully  balanced  and  well  contrived  place  in  which  pro- 
vision has  been  made  for  an  orchard  and  a vegetable  garden  with  a 
mosaic-like  flagging  leading  to  the  service  quarters.  A portion  of  the  prop- 
erty is  walled  and  lined  with  maple  trees. 

There  is  much  to  be  said  about  the  house,  which  is  so  located  upon  the 
upper  terrace  as  to  present  a full  view  of  the  Bedford  Hills  in  the  distance. 
It  is  a semi-fireproof  building  of  hollow  tile  and  concrete,  deliciously  un- 
assuming and  direct  in  plan,  having  a service  wing  on  the  westerly  end  and 
a generous  veranda,  or  loggia,  extending  towards  the  east.  Into  an  en- 
trance loggia  and  central  hall  open  the  dining  and  living-rooms  and  a small 
library  where  the  glory  of  the  setting  sun  can  be  enjoyed. 

The  house  is  pleasing  in  the  simplicity  with  which  the  openings  are 
contrived,  balanced,  centered.  The  windows  to  the  dining  and  living-rooms 
are  large,  five-lighted,  mullioned  and  transomed  openings  giving  light 


21 


•2*2 


the  house  opens  from  a semicircular  fore-court  reached  from  the  upper  roadway 

It  is  a well-balanced  elevation.  The  entrance  is  accented  by  creepers  and  a well-contrived  loggia  which  is  both  serviceable  and  deco- 
rative. The  designing  of  a hillside  property  has  always  been  something  of  a challenge  to  the  average  architect  in  general  practice,  particu- 
larly when  the  entrance  is  on  the  upper  side  of  the  hill  and  the  question  is  how  to  descend  to  the  house  in  a pleasing  manner.  This  is 
one  very  satisfactory  method  of  solving  the  problem.  It  is  an  unaffected  and  natural  fashion.  The  descent  from  the  road  is  a picture 


MR.  W.  G.  BORLAND’S  HOME  AT  MOUNT  KISCO,  N.  Y. 


23 


where  needed.  The  casements  are  leaded.  The  openings  to  the  bedrooms 
above  are  well  schemed  and  the  dormer  lighting  to  the  upper  floor  is  excel- 
lent. The  large  chimneys  at  each  end  of  the  house  speak  of  comfortable 
fii  •es  within.  The  roofing  is  accented  cleverly  by  gables  in  the  right  place. 


The  front  service  entrance,  yard,  garage  and  orchard  are  here  shown;  main  view  is  indicated. 
The  treatment  of  this  hillside  property  is  very  interesting,  showing  the  subtle  manner  in  which  we 
descend  into  the  court  and  the  decorative  quality  of  the  scheme  by  a semicircular  driveway 

The  overhanging  eaves,  the  blinds  to  the  upper  windows,  the  timbers  of  the 
pergola  and  the  woodwork  generally  are  thickly  coated  with  creosote,  a rich 
brown  preservative  developing  the  natural  grain  of  the  wood.  We  note  the 
original  treatment  of  the  gable  of  the  garden  frontage  for  its  unusual  method 
of  shingling.  The  same  distinctive  detail  marks  the  gable  of  the  service  wing. 


24> 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


Love  of  creepers  on  the  house  walling  has  here  survived  the  chilly 
breezes  of  academic  criticism.  The  designers  have  not  pinned  their  faith 
to  richly  moulded  window  and  door  heads  as  the  only  legitimate  form  of 
architectural  expression.  They  have  extended  somewhat  the  accent  of  the 
gables  by  the  wise  use  of  a trailing  vine  named  by  scientists  Euonymus 
radicans.  This  greenish,  whitish,  purplish  vine,  which  is  always  beautiful 
and  when  seen  in  any  light  has  white  markings  recalling  the  brightness  of 
the  walling.  As  a base  to  the  house  has  been  planted  a dwarf  hedging  of 
the  domestic  barberry,  the  leaves  of  which  are  a light  green.  Late  in  the 


SECTION  THROUGH  ROADWAY  AT  ENTRANCE  LEADING  TO  THE  COURT 

The  sketch  discloses  the  general  planting  scheme,  the  poplar,  maple  and  a portion  of  trellis. 
The  rough  stone  wall  is  laid  in  lime  mortar  with  thick  layer  of  cement  to  form  a coping.  The  masonry 
is  very  irregular.  Turn  to  the  accompanying  plan  to  get  a full  understanding  of  this  drawing 


season  the  leaves  turn  orange  and  red  and  tawny  russet,  and  in  the  winter 
the  branches  are  decorated  with  brilliant  scarlet  berries. 

The  painter  instinct  of  the  architects  has  prompted  the  introduction 
of  the  warm  gray  of  the  distance  as  the  local  color  of  the  panelling  to  the 
principal  rooms.  The  French,  ever  skilful  in  their  background,  have  devised 
this  peculiar  mixture  all  their  own  and  have  found  it  very  serviceable.  It  is 
a gray  which  is  warm  and  seems  to  have  the  ability  to  reflect  daylight.  It 
was  doubtless  suggested  by  the  distant  landscape,  having  a wonderful  depth 
when  viewed  in  a certain  light.  It  has  at  least  one  excellent  quality  in  a sun- 
shiny climate,  whatever  it  may  have  where  the  days  are  too  dull  and  life  too 
dreary,  in  that  it  brings  out  the  fidl  value  of  mahogany  and  the  bright 
colors  of  the  chintz  so  favored  in  country  houses. 


MR.  W.  G.  BORLAND’S  HOME  AT  MOUNT  KISCO,  N.  Y. 


25 


It  is  said  to  take  a big  architect  in  these  days  to  design  a small,  com- 
fortable house,  a house  that  is  brimful  of  personality,  that  is  good  to  look 
upon,  utilitarian  yet  romantic  in  idea,  that  at  the  same  time  is  not  overwhelm- 
ingly architectural  but  distinctly  pleasing  and  sure  to  develop  harmoniously 
as  it  ages.  In  other  words,  it  is  said  to  take  a big  man  to  do  any  small  thing 
thoroughly  well.  Abernethy,  the  famous  English  physician  of  the  first  quar- 
ter of  the  nineteenth  century,  did  not  recommend  carriage  exercise  for  the 
poor  people  of  his  active  practice,  but  rather  devised  a formula  which  im- 
proved their  diet,  lengthening  their  lives,  extending  much  their  days  of  hap- 


CROSS-SECTION  THROUGH  COURT  WITH  DETAIL  OF  FOUNTAIN 

The  second  view  shows  the  general  planting  scheme  from  another  angle.  The  central  portion  of 
the  walling  is  thickly  coated  with  cement  concrete  and  left  for  the  creepers  and  weather  markings 
to  color.  This  change  of  texture  is  delightful  and  somewhat  unusual  in  modern  work 

piness.  Tolstoy,  speaking  with  his  passionate  eloquence  of  the  difficulty  of 
telling  a short  story  in  a brief,  pertinent  manner,  or  of  composing  a simple 
melody,  appealing  alike  to  our  hearts  as  our  senses,  earned,  with  some  of 
our  architects  of  to-day,  our  gratitude,  because  of  the  close  attention  they  pay 
to  our  daily  requirements.  They  think  so  much  more  of  the  living  needs 
of  a small  family  than  of  the  stilted  proportions  of  their  art. 


26 


VIEW  FROM  DRIVEWAY,  SHOWING  COURT,  HOODED  ENTRANCE  AND  WROUGHT-IRON  WINDOW  CASEMENTS 

This  sunshiny  picture  deserves  considerable  attention.  The  wall  surface  will  shortly  he  humanized  with  weather  staining.  The 
bright  light  brings  into  prominence  much  of  the  detail  which  promises  well  for  the  future  and  the  shadows  are  entertaining.  Refer  to 
the  plan  to  get  the  general  value  of  the  scheme,  the  semicircular  approach  to  the  fore-court  and  the  outline  of  the  planting,  the  plan 
also  throws  considerable  light  upon  the  service  court  and  service  wing.  It  locates  the  terrace  with  its  entrance  and  a portion  ot  garden 


Mrs.  C.  B.  Alexander’s  Home,  Bernardsville,  N.  J. 

Delano  & Aldrich,  architects 

III  ustrations  from  original  drawing  and  photographs  by  Julian  Buckly 

HAT  hillside,  garden  and  landscape  meet  in  some  portions  of 
New  Jersey’s  hospitable  borders  in  a very  picturesque  em- 
brace has  long  been  known.  Every  now  and  again  the  state 
increases  its  popularity  and  its  interest  by  husbanding  still 
one  more  home  of  the  privileged.  And  it  is  perfectly  natu- 
ral, for  many  of  the  townships  are  both  beautiful  and  con- 
veniently reached  from  the  metropolis.  There  is  an  unusual  variety  of  sites, 
hillsides  that  are  pastoral  and  rocky  sites  that  are  rugged,  inviting  stern 
treatment  by  owner  and  architect.  These  are  certainly  stimulating  and  not 
a little  of  a challenge  to  the  imagination.  At  times  they  are  very  costly,  so 
that  it  is  not  to  be  wondered  at  that  the  pastoral  property  is  a little  more 
popular  for  general  service.  There  is  about  it  often  a quality  which  in- 
vites by  reason  of  its  color,  its  texture,  its  adaptability. 

The  home  of  Mrs.  C.  B.  Alexander  at  Bernardsville  is  one  of  those 
graceful  testimonies  to  the  practical  acceptance  of  the  idea  that  a home 
should  be  quiet  and  restrained  in  outline,  that  it  should  be  free  from  ostenta- 
tious display,  comfortable  within,  and  so  contrived  in  general  layout  as  to 
take  its  proper  place  with  the  surrounding  properties.  There  is  about  it  cer- 
tain English  and  French  characteristics.  It  is  wholesome  in  idea,  being  un- 
usually exempt  from  any  affectation.  The  plan  is  thoughtfully  laid  out.  and 
the  rooms  so  contrived  as  to  make  the  best  of  everything.  They  open  well 
and  liberally.  Things  are  generally  on  a center.  The  quality  known  as  scale 
and  balance  is  well  preserved.  There  is  about  it  a certain  architectural  right- 
eousness, a naive  austerity,  a sacrifice  to  truth  and  potency,  that  is  accept- 
able. The  windows  depend  upon  their  proportion  rather  than  their  embel- 
lishment for  their  interest.  Not  a moulding  appears  on  the  outside  of  the 
house,  with  the  exception  of  the  head  to  the  triple  window  in  the  gable,  which 
shelters  the  sleeping  porch  of  the  upper  floor.  Wrought-iron  English  ease- 
ments have  been  used  for  many  of  the  openings.  They  have  been  imported 
for  this  purpose  and  give  a little  personal  quality  which  is  acceptable. 
The  house  is  built  of  hollow  tile  which  is  used  for  all  exterior  walling.  The 
roofing  is  of  slate  graduated  in  width  of  courses  and  varying  in  color,  the 


28 


END  OF  HOUSE,  SHOWING  MAIN  GABLE,  TRIPLE  WINDOW  TO  SLEEPING  PORCH  AND  BIG  CHIMNEY 

The  view  exhibits  the  direct  scheming  of  windows  and  casements,  the  loggia  opening  from  living  room  and  a portion  of  the  fence 
sheltering  the  garden.  The  architect  has  here  thought  well  to  import  from  Northern  France  a fence  of  split  saplings  which  are  exceed- 
ingly picturesque.  They  are  pointed  at  each  end,  woven  together  with  wire  and  secured  by  heavy  chestnut  posts  sunk  in  the  ground 


MRS.  C.  B.  ALEXANDER’S  HOME,  BERNARDSVILLE,  N.  J. 


29 


tones  running  from  blue  to  purple.  Roughcast  cement  stucco  is  skilfully 
floated  upon  the  walling — a veritable  canvas  on  which  the  weather  changes 
will  soon  weave  a diaper  of  markings,  quaint  and  rich,  low  in  tone,  varied  in 


TERRACE  WITH  ENTRACE  TO  DINING  ROOM  AND  HALL 


Inserted  in  the  wall  at  the  far  end  as  a decorative  note  is  the 
Madonna  and  Child,  terra  cotta  of  the  Della  Robbia  school,  bright 
in  color,  and  with  the  usual  blue  for  background.  In  harmony  with 
the  blue  is  the  painting  of  the  window  shades  and  frames 


color,  and  becoming  more  beautiful  every  day.  There  always  will  be  about 
this  form  of  surfacing  an  interest  alike  to  the  painter,  the  poet  and  all 
others  of  cultivated  ideas.  It  is  a surface  which  furnishes  an  excellent  back- 
ground on  which  the  shadows  and  reflected  lights  have  a certain  subtle  part- 


30 


THE  LIVING  ROOM  WITH  ITS  PANELLED  WALLING,  TAPESTRIES  AND  QUAINT  PAVEMENT  OF  RED  WELSH  TILING 
The  detailing  of  this  center  of  things  domestic  is  unusually  attractive,  revealing  not  a little  the  personal  preferences  of  the  owner 


MRS.  C.  B.  ALEXANDER’S  HOME,  BERNARDSVILLE,  N.  ,J. 


31 


nership  and  sympathy.  It  is  this  tone  which  gives  quality  to  the  green  and  to 
the  grays  of  every  season  of  the  year.  Its  value  is  to  he  seen  in  the  contrast 
of  the  flowers,  planted  in  the  window  boxes  and  in  the  low,  dull  green  of  the 
cedars  and  boxwood  near  the  entrance.  The  principal  rooms  on  the  ground 
floor  are  paved  with  Welsh  tiling.  This  is  also  to  he  seen  in  the  living-room, 
hall  and  the  dining-room.  The  terrace  and  the  flooring  of  the  porch  are  paved 
with  red  brick  laid  alternatingly  in  groups  of  three,  checker-hoard  fashion. 


SKETCH  PLAN  OF  PORTION  OF  PROPERTY 

Showing  general  arrangement  of  rooms,  entrance  and  fore- 
court, with  terrace,  garden  and  servants’  wing.  The  service  court 
is  screened  from  garden  and  terrace.  The  sketch  reveals  outline 
of  planting  and  fence  line  and  outline  of  wood  on  northern  side 

The  architects  have  paid  no  little  attention  to  the  adornment  of  the  terrace, 
perhaps  I should  say  the  ennoblement,  by  the  introduction  of  two  terra-cotta 
plaques,  a Madonna  and  Child.  They  are  to  be  seen,  the  former  in  the 
center  of  the  end  walling,  the  other  one  between  the  window  casements  to  the 
dining-room.  Over  this  one  a light  is  suspended  by  a delicate  wrought- iron 
bracket.  Here  is  also  to  be  seen  a circular  marble  table  for  the  family  to 
dine  literally  under  the  sky. 

The  entrance  is  through  a driveway  into  a fore-court,  and  so  under  a 
hooded  doorway  into  the  hall,  so  that  the  privacy  of  the  family  is  in  no  way 
disturbed.  The  floor  above  is  somewhat  unusual,  with  its  fireplaces  in  every 
room,  its  private  baths,  its  liberal  closets,  its  accommodation  for  maids, 


32 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


wherein  they  have  their  separate  staircase  and  hallway.  In  a word,  it  is  an 
arrangement  that  spells  comfort. 

The  garden  is  sheltered  from  the  northwest  and  yet  gets  the  full  benefit 


of  the  sun.  A stone  walling  runs  across  the  end  of  the  garden  gracefully 
swelling  out  in  the  center  to  accommodate  a small  fountain  and  having  two 
broad  stairways  leading  to  the  wild  garden.  All  this  of  the  natural  Jersey 
rock  well-covered  with  lichen,  moss,  metallic  oxides  and  weather  discoloring, 


THE  HOODED  DOOR  AND  WINDOWS  ARE  WELL  PROPORTIONED 


View  of  entrance  from  fore-court.  Mediaeval  frontages  presented  much  this  severe  form  when 
first  they  were  built,  and  weather  stains  spread  over  the  surface,  toning  it  acceptably 


MRS.  C.  B.  ALEXANDER’S  HOME,  BERNARDSVILLE,  N.  J. 


33 


so  that  it  goes  very  well  with  the  shrubs,  the  long  grasses  and  the  under- 
brush. And  perhaps  it  is  from  here  that  the  most  satisfactory  view  of  the 
house  is  to  be  had,  and  this,  in  the  summer  season  of  the  year,  will  doubtless 
be  the  center  of  things.  Those,  however,  who  love  color  and  are  very  much 
alive  to  the  significance  of  the  Della  Robbia  reliefs,  will  remember  with 
pleasure  the  blue  of  the  background,  that  remarkable  tone  cherished  so  long 
by  the  great  Italian  sculptor,  for  it  has  found  a living  form  of  sympathy 
in  the  great  masses  of  larkspur  and  heliotrope  planted  in  the  garden.  Even 
the  Venetian  blinds,  window  frames,  hood  to  the  entrance,  have  all  accepted 
the  blue  as  their  decorative  and  distinguishing  coating.  And  it  is  the  rich, 
clear,  transparent  blue,  going  so  well  in  contrast  with  the  cream  tone  of  the 
walling,  which  gives  no  added  importance  to  the  green  of  the  foliage.  This 
emphasis  is  so  much  more  satisfactory  than  the  magnificent  medley  of  pri- 
mary colors  too  often  favored  by  well-meaning  but  poorly  informed  people 
who  fail  to  realize  the  chemical  action  of  light  and  weather  upon  common 
everyday  paint  and  stains.  Of  course,  to  preserve  the  balance  white  flowers 
abound  and  foliage  that  is  pencilled  with  white  and  gray,  and  a rich  varia- 
tion of  flowers  of  delicate  tone.  We  must  not  forget  the  silver-like  sheen 
of  the  stone  flagging  and  the  important  part  that  the  wide  mortar  joints 
play  in  the  story.  For,  after  all,  white  is  of  inestimable  value;  without  it 
the  combination  would  be  graceless.  It  often  justifies  the  innocent  pride  the 
blue  seems  to  have  among  the  primary  colors. 

It  is  this  form  of  house  designing,  of  home  building  in  this  great  Amer- 
ica of  ours,  showing  the  skilful  adjustment  of  many  of  the  outlines  and  pro- 
portions of  Europe  which  is  particularly  encouraging  and  stimulating  be- 
cause it  exhibits,  among  other  things,  a keen  realization  of  the  beauties  of 
our  own  plants  and  trees  and  illustrates  their  importance  in  architecture. 


34 


FRAMED  BY  ELMS,  THE  HOUSE  MAKES  AN  AGREEABLE  CLIMAX  TO  THE  LONG  AVENUE 

From  the  entrance  the  visitor  passes  through  the  large  central  hall,  leading  to  the  loggia  and  terrace  gardens  at  a lower  level.  To 
reach  a full  understanding  of  the  attractive  view,  it  were  wise  to  refer  to  the  accompanying  plan  of  a portion  of  the  property.  The  road- 
way is  flanked  by  an  avenue  of  elms  and  enriched  on  the  right-hand  side  by  considerable  planting.  The  low  bushes  screen  the  tennis  court 
which  has  recently  been  laid  out.  Between  the  elms  will  be  noted  some  of  the  original  trees  of  the  property,  large  and  fully  grown 


Mr.  Russell  A.  Alger’s  Detroit  Residence 

Charles  A.  Platt,  architect 

Illustrations  from  original  drawing  and  photographs  by  Julian  Buckly 


OME  people  say  that  the  Moorings  is  popular  because  of 
its  frontage  upon  Lake  St.  Clair.  Others,  speaking  with 
what  eloquence  they  possess,  attribute  its  attraction  to  the 
woods  of  the  district,  the  woods  for  which  Grosse  Point  has 
always  been  famous.  They  refer  with  no  little  pride  to  the 
native  elm,  maple,  ash,  and  the  balsam  and  pine,  which 
cling  so  tenaciously  to  the  soil  in  spite  of  the  high  breeze,  and  they  also 
dwell  upon  the  fact  that  here  is  preserved  intact  the  long  avenue  through 
which  the  old  house  was  reached  and  still  remains.  Others  again  talk  of  the 
way  in  which  the  new  house  sits  on  the  most  elevated  portion  of  the  site 
and  is  terraced  to  the  water-edge,  so  as  to  leave  the  long  pergola  screening 
the  flower  garden,  making  a frontage  imposing  at  a distance,  comfortably 
nearby  and  delightful  to  the  guests  at  all  times.  But  the  real  secret  of 
the  attraction  of  the  place  resides  in  the  fact  that  small  as  it  is  in  inches, 
for  to  he  correct  this  portion  of  the  property  consists  of  some  six  or  seven 
acres,  it  is  big  in  idea. 

It  might  very  well  be  termed  a big  little  place.  Whether  you  enter 
from  the  northern  frontage,  leaving  Jefferson  Avenue  behind  you,  or  ap- 
proach the  place  by  a motor  boat,  it  is  impressive.  Both  the  northern  and 
the  southern  frontages  are  pleasing  in  the  extreme  and  in  a way  they  are 
delightfully  deceiving.  Says  one:  “The  property  seems  to  own  you  body 
and  soul,  whithersoever  you  look  at  it;  it  is  fascinating  by  day,  it  is  engaging 
at  night.”  The  sea  wall  has  been  so  contrived  as  to  provide  for  a bowling 
green  in  the  center  and  a landing  stage  at  the  side.  The  house  is  built 
sufficiently  close  to  the  ground  to  he  a part  of  the  natural  terrace,  to  shun 
the  high  winds  hut  enjoy  the  views.  The  views  are  many  and  very  beauti- 
ful. Grosse  Point  Lightship  is  right  ahead,  looking  south,  when  the  mists 
permit;  Askins  Point  of  Canada  can  be  seen  and  the  Island  of  Fishes,  when 
the  mirage  from  the  swamp  behind  is  not  too  thick.  Windmill  Point  is 
very  much  in  evidence,  and  at  times  the  well-known  Belle  Isle.  The  prop- 
erty is  located  close  to  the  Country  Club. 

The  house  is  unusual  in  its  plan.  It  opens  up  well  and  is  very  much 
of  a surprise.  If  we  enter  from  the  northern  frontage  we  reach  the 


36 


THIS  VIEW  GIVES  MUCH  OF  THE  NORTH-WESTERLY  FRONTAGE  AND  END  OF  HOUSE 
It  also  pictures  the  mirror  pool  in  garden,  the  gate-way  leading  to  drive  entrance,  the  broad  bordering  of  flowers  and  other  details 


MR.  RUSSELL  A.  ALGER’S  DETROIT  RESIDENCE 


37 


central  hall  which  is  the  soul  of  the  place,  and  from  it  pass  through  the  li- 
brary into  the  loggia  and  out  down  a number  of  steps  to  the  lower  terrace. 
Here,  descending  again,  the  bowling  green  is  reached.  Or  we  can  stay  in 
the  central  hall  and  enjoy  all  this  from  a distance  by  contenting  ourselves 
by  a visit  to  the  long  balcony  on  which  the  hall  opens.  Here  can  best  be 
enjoyed  the  pageant  of  the  lake  with  its  crowd  of  cargo-boats,  barges  and 
steamers,  for  the  architect  is  a great  rogue;  like  the  magicians  of  Egypt 
he  has  been  able  to  do  much  with  these  enchantments.  Old  Detroit  has 
disappeared  beneath  acres  of  new  buildings.  Much  of  its  history  has  been 
forgotten;  the  Indian  wigwams  or  the  far-sighted  generosity  of  Pontchar- 
train  is  a memory. 

Moorings  is  a story  of  one  clear-thinking  architect  and  his  vigorous 
handling  of  a rather  difficult  and  unusual  problem.  It  is  the  spirit  of  the 
thing  that  pleases.  It  did  not  jump  up  in  the  night.  It  was  not  created  off- 
hand. It  was  a vision  wherein  the  clear-sighted  and  patient  worker  toiled 
to  one  definite  and  distinct  climax.  The  property  was  laid  out  first  in 
small,  to  put  it  technically — that  is,  a model  was  made  of  it,  a model  for 
scale  and  a survey  which  shows  the  elevation  of  every  section.  It  is  always 
difficult  for  a client  to  visualize  plans.  Varying  levels  confuse.  It  is  no 
easy  matter  to  understand  satisfactorily  other  technical  points  or  the  need 
for  planting  to  screen  the  entrance  and  the  service  porch.  This  re- 
duction of  the  scheme  to  the  model  was  a splendid  means  of  winning 
success  by  deserving  it.  The  mind  is  schooled  with  the  philosophy 
of  life  and  we  are  able  to  realize  the  need  of  certain  things  before 
they  are  planned.  In  this  property  the  house  occupies  so  natural  a 
position  that,  in  spite  of  the  fact  that  we  enter  what  would  ordinarily  be 
termed  the  second  floor,  and  go  down  into  the  billiard-room  or  out  onto  the 
terrace,  we  quite  as  naturally  ascend  to  the  bedrooms  above,  or  stroll  out  to 
the  pergolas  to  enjoy  the  distance;  we  are  obeying  instinctively  the  arrange- 
ment of  the  architect.  He  is  our  mentor,  our  guide,  omnipresent  though 
invisible.  We  fall  in  line  with  his  wishes,  we  see  the  picture  as  designed  by 
him,  finding  it  none  the  less  engaging  and  delightful  because  we  are  uncon- 
scious of  any  pre-arrangement.  We  are  well  rewarded. 

It  is  a white  house  of  concrete,  the  dressings  of  which  are  of  limestone, 
the  same  practical  material  being  utilized  for  the  entrance  hall  and  the  main 
stairs,  the  pediment  to  the  northern  frontage  and  as  an  enrichment  to  the 
central  window  and  the  little  circular  detail  immediately  above.  The  house 
is  roofed  with  red  tile  which  overhangs  very  much  after  the  fashion  of  the 
houses  in  the  northern  section  of  Italy,  yet  the  roof  is  kept  well  up  above 
the  ceiling  of  the  bedrooms,  so  as  to  give  a neutralizing  chamber  de- 


38 


39 


THE  CENTRAL  HALL  IS  FULL  OF  COLOR  WITH  PAINTED  CEILING,  TAPESTRIES  AND  UNUSUAL  FURNITURE 

It  is  the  soul  of  the  place,  from  which  the  library,  dining  room  and  loggia  open,  and  the  direct  view  of  the  lake  is  to  be  enjoyed, 
eie  we  realize  the  value  of  the  site,  the  full  importance  of  its  location,  and  the  worthwhileness  of  the  general  scheme.  The  hall  is 
Italian  in  idea  and  full  of  interesting  detail.  Could  wall  enrichment  be  fuller  of  color,  richer  in  suggestion  than  these  tapestries? 


40  AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 

signed  to  eliminate  that  dread  of  all  country  houses,  heat  overhead  where 
it  is  not  wanted;  by  a system  of  cross -ventilation  the  bed  chambers  are  cool 
in  the  summer  and  warm  in  the  winter.  It  is  an  all-the-year-round  house, 
a fireproof  house — this  latter  goes  without  saying  in  these  practical  days 


— a house  wherein  domestic  com- 
fort has  been  studied  more  than  is 
usual  and  where  the  decorative  ac- 
cent is  splendidly  in  the  right  place, 
and  for  a definite  purpose. 

Thanks  to  great  beds  of  lark- 
spur, blue  is  tbe  prevailing  color 
of  tbe  garden  in  the  month  of  Au- 
gust, following  the  pink  and  white 
of  the  Japanese  anemones.  Still  it 
is  an  old-fashioned  garden  with 
old-time  colors  and  perfumes,  all 
very  cleverly  screened  by  the  per- 
gola, which  in  turn  bears  upon  its 
well-proportioned  frame  a rich 
mantling  of  wild  grapevine.  “For,” 
says  Mr.  Platt,  “the  wild  vine  of 
the  grape  has  a quality  our  domes- 
tic variety  fails  to  possess;  the 
leaves  are  very  large,  thin  and 
translucent ; the  y are  lighter, 
brighter,  more  cheerful,  and  form, 
as  it  were,  a more  graceful  shelter 
to  the  pergola.”  The  fore-court  is 
accented  in  several  ways;  at  the 
termination  of  the  elm  avenue  two 
recumbent  figures  of  the  lion  ap- 
pear well  scaled  with  the  building, 
very  simple  and  stately  in  drawing. 
The  court  is  circular  in  movement 
and  the  corners  which  form  the  cir- 
cle are  planted  with  rhododendrons 
and  other  flowering  shrubs  which 
mass  satisfactorily  without  disturb- 
ing things,  and  while  they  give  a 
pleasing  note  with  their  color,  tex- 


Showing  the  elm  tree  avenue  approach,  the  flower 
garden  and  the  vine-covered  pergola 


MR.  RUSSELL  A.  ALGER’S  DETROIT  RESIDENCE 


41 


ture  and  drawing,  content  themselves  with  spreading  instead  of  aiming  to 
hide  the  windows  and  block  the  light. 

Turning  to  the  sketch  plan  of  a portion  of  the  property,  we  note  that  it  is 
through  the  entrance  marked  B that  the  central  hall  A is  reached.  This 
is  the  soul  of  the  place;  opening  from  it  is  a long  balcony  facing  the  lake. 
To  the  right  is  the  library  C,  to  the  left  the  dining  room  D,  and  extend- 
ing from  both  of  these  are  a conservatory  and  loggia  E and  F.  G accents  the 
breakfast  room  and  H the  garage  and  I the  small  private  dock,  which  is  re- 
cessed so  as  to  give  ample  protection  from  the  exposed  frontage  upon  the 
lake. 

The  popularity  of  the  Moorings  is  not  due  so  much  to  the  general  de- 
sign as  such,  hut  rather  to  its  intimate  relation  to  the  lake;  that  is,  to  the 
fact  that  into  the  scheme  has  been  brought  the  lake.  The  lake  with  its  mys- 
tery and  charm  belongs  to  the  picture,  or  may  we  not  even  say  it  belongs  to 
the  house?  To  get  the  full  pleasure  we  should  look  to  something  more  po- 
tent than  that  which  is  transferable  by  means  of  paper,  for  at  best  sketches 
accompanied  by  letterpress  convey  an  idea,  a memory,  hut  that  is  all.  The 
merest  glance  from  the  end  of  the  avenue,  as  the  sun  rises  or  sets  so  as  to 
include  the  flash  of  light  upon  the  surf  ace  of  the  water  of  the  translucent 
purple  of  the  distance,  the  movement  of  the  tree-tops  as  they  gently  sway 
in  the  fresh  breeze,  would  speak  better  than  anything  we  have  wit  enough 
to  add ; because  it  would  disclose  in  a subtle  and  persuasive  manner  the  orig- 
inal idea  of  the  designer  when  he  first  attacked  the  problem,  grasping  its 
privileges,  its  opportunities.  Delightful  also  is  it  to  realize  that  the  lake  is 
for  others,  for  there  is  nothing  selfish  about  the  design.  Is  it  not  a possession 
without  ownership? 


F 


g £ 


is 


42 


Home  of  Mr.  Lloyd  G.  Griscom,  Norwich,  L.  I. 

Delano  & Aldrich,  architects 

in  ustrations  from  the  architects’  original  pen  and  ink  drawings 

AS  it  not  that  resourceful  painter,  writer  and  prince  of  good 
fellows,  John  Lafarge,  who  spoke  so  frequently  regarding 
the  sketch  as  an  instrument  conveying  an  idea,  saying  that 
somehow  or  other  we  try  to  make  our  drawings  as  ugly  as 
as  possible?  He  was  speaking  of  decorative  work.  The 
comment  was  the  outcome  of  a visit  from  a young  drafts- 
man presenting  to  the  master  his  sketch  for  criticism.  The  sketch  was  one 
of  those  fatally  pretty  affairs  we  all  know.  Is  it  not  with  drawings  as  with 
personalities?  It  is  the  dull,  dreary  person  we  avoid.  Here  is  a drawing  so 
decorative,  so  human,  that  we  find  ourselves  for  the  moment  gazing  at  it  as 
a work  of  art,  when,  in  reality,  it  is  a memorandum  of  an  idea.  And  this 
altogether  oblivious  to  the  fact  that  it  is  once  again  Bismarck’s  criticism  of 
the  average  newspaper — as  merely  printer’s  ink  upon  paper.  If  we  find  our- 
selves held  momentarily  h}r  the  drawing  it  is  the  fault  of  the  architects,  who 
have  themselves  to  blame!  Thanks  to  the  drawings,  however,  the  spirit  is 
intensified  rather  than  concealed,  and  behind  the  decorative  quality  resembling 
a wood-cut  and  the  suggestiveness  characteristic  of  an  etching  the  potency 
of  the  scheme  is  here  visible  and  unmistakable. 

The  suburbs  of  New  York  owe  much  of  their  beauty  to  this  improved 
study  of  material  and  to  the  local  color.  This  term,  once  found  only  in  the 
vocabulary  of  the  painter,  is  accepted  to-day  with  reverence  because  it  is 
understood.  We  are  delighted  to  find  it  spells  something  good  for  the 
countryside.  There  is  in  the  work  of  the  architect  less  pose  and  artificial- 
ity, more  balance.  He  is  no  longer  ashamed  to  have  his  work  chic;  he  prates 
less  frequently  of  his  anaemic  mistress-style,  and  while  he  still  imports  antiques 
he  brings  with  them  a saving  element  of  common  sense,  which  tends  to  coun- 
sel us  regarding  their  best  disposition.  The  suburban  home  to-day  is  more 
beautiful  because  it  belongs  to  us,  to  our  time,  to  our  ambitions,  and  to  our 
pocketbooks.  We  have  learned  that  the  country  property,  whether  it  he 
two  or  a hundred  acres,  must  he  studied  as  an  entirety,  which  means  that 
architect  or  owner  becomes,  in  a way,  and  for  a time,  something  of  a painter. 
In  this  way  our  house  building  has  become  less  of  a tragedy. 


43 


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THE  HOUSE  FACES  THE  SOUTH.  THE  LOGGIA  AND  DINING  ROOM  OPEN  DIRECT  UPON  THE  LAWN 


Mr.  A.  C.  Bartlett’s  Home,  Lake  Geneva,  Wis. 

Howard  Shaw,  architect 


Illustrations  from  original  drawing  and  photographs 

T is  when  we  look  at  pictures  like  these  that  we  realize  the 
importance  of  surroundings.  And  we  recall  that  the  archi- 
tect, in  his  handling  of  the  country-house  problem,  resem- 
bles the  playwright,  because  in  his  effort  to  present  at  the 
theater  a phase  of  society  or  to  point  a lesson,  he  is  compelled 
to  study  background  and  setting.  He  cannot  afford,  in  any 
way,  to  be  indifferent  to  the  claim  of  costuming,  music  and  lighting.  True, 
the  playwright  is  not  embarrassed  with  the  lay  of  the  land,  but  he  has  to 
put  up  with  the  caprice  of  the  star  who  demands  the  spotlight  in  addition  to 
other  artificialities  and  is  arrogant  regarding  entrances  and  accents  of  other 
descriptions.  The  playwright’s  struggle  with  the  presentation  of  a high- 
class  comedy  resembles  greatly  the  architect’s  handling  of  the  country  house. 
His  background  is  a living  thing,  subject  to  the  fluctuations  of  the  seasons, 
and  being  a portion  of  the  earth  humanized  it  must  be  sheltered  and  pro- 
tected, as  must  also  the  inmates  of  the  house,  while  the  fantastic  backing  of 
the  dreams  of  the  playwright  is  a painted  canvas  struck  or  set  to  fit  the  ca- 
price of  the  hour.  Even  so  it  must  be  studied,  thoughtfully  designed,  for  it  is 
an  essential  portion  of  the  story  and  no  longer  are  we  living  in  the  time  of 
the  immortal  bard.  “The  play  is  the  thing”  was  written  at  a time  when 
scenery  was  practically  unknown.  Hut  to-day  it  is  important.  Who  could  do 
without  it,  for  it  is  the  very  ground  of  the  story,  illustrating  the  time,  the 
place  and  the  occasion?  It  is  by  the  brilliancy  of  scenic  effects,  the  machin- 
ery of  the  stage  with  its  lighting,  movement  and  the  rest  of  it  that  the  public 
is  entertained,  as  well  as  with  the  play.  When  the  curtain  is  down  and  the 
audience  leaves  the  theater  it  takes  with  it  an  intimate  memory  of  the  beauty 
of  the  scene  as  an  entirety  as  well  as  the  sparkle  of  the  conversation,  the 
dramatic  situations.  It  were  as  difficult  to  remove  from  the  picture  dia- 
logue as  scenery.  The  architect  is  also  concerned  with  the  picture  as  a whole. 
And  like  the  playwright  he  is  indeed  embarrassed  by  the  detail  demanding 
attention.  He  has  to  fit  the  house  to  the  site  very  much  as  the  writer  ad- 
justs his  scenes  to  the  equipment  of  the  theater,  to  the  intellectual  capacity 
of  the  audience,  to  the  well-known  impatience  of  the  age — to  the  limit  of  its 
endurance. 


47 


48 


ENCIRCLED  WITH  NATIVE  WOODS.  THE  STUDIO  AND  TERRACE  DOMINATE  ONE  END  OF  THE  COURT 

The  studio  is  an  independent  building  with  anterooms,  loggia  and  arbors  opening  upon  the  terrace,  from  which  steps  lead  to  the  court. 
That  section  of  the  public  disclaiming  the  influence  of  environment  should  study  this  scene,  estimating  its  influence  on  the  average  person 


MR.  A.  C.  BARTLETT’S  HOME,  LAKE  GENEVA,  WIS. 


49 


These  very  interesting  views  show  one  method  of  so  designing  a house 
that  it  fit  the  specific  background  and  that  it  make  of  the  occasion  the  very 
most  that  is  possible.  Here  is  a property  where  a house  is  so  enclosed  in 
a dense  wood  that  shade  and  shadow  as  well  as  the  whisper  and  majestic 
movements  of  the  trees  enter  day  and  night  into  the  scene  and  form  part  of 
it.  It  is  indeed  a house  secreted  and  retired,  a veritable  nook  in  the  woods. 

The  sunshine  plays  an  im- 
portant p art  i n t li  i s 
scheme.  The  painter  with- 
in the  architect  here  once 
again  invites  our  salutation 
and  receives  it  because  he 
shows  his  keen  realization 
of  the  responsibility  of  the 
occasion.  Yet  he  is  a great 
rogue.  Of  course,  he  could 
very  well  do  without  pro- 
jecting mouldings  and 
carvings,  changes  of  tex- 
ture and  artificial  coloring, 
because  the  trees  help  him 
so  splendidly  with  their 
wonderful  shadows  and  re- 
fleeted lights.  To  my  mind 
this  type  of  design  is  one 
that  should  be  encouraged 
greatly  where  an  oppor- 
tunity occurs  in  this  way. 
People  returning  fro  m 
Italy  rave  about  repose 
and  scale,  the  absence  of 
this,  that  and  the  other,  and 
forget  the  important  part  played  by  weather  incrustations  and  coloring,  and 
the  part  also  that  the  background  contributes  to  the  general  scheme.  So 
many  people  demand  ornament.  This  happy  little  place  is  far  away  from  the 
clamor,  rush  and  excitement  of  the  world.  Reflected  lights  count  here  and, 
as  if  adding  to  the  painter’s  delight  in  mystifications  and  color,  a pool  ap- 
pears that  the  sky  may  be  mirrored  in  it.  The  magic  of  its  bine  increases  the 
value  of  the  greens  of  the  foliage.  It  tempers  as  well  as  modifies  and  cools 
the  reflections.  It  transmogrifies  the  picture  in  certain  seasons,  and  when  the 


THE  PLAN  OF  THE  PLACE  IS  EVERYTHING 

The  skill  in  devising  rooms  in  relation  to  outlook  and  in- 
tercommunication is  here  shown.  The  relative  scale  between 
rooms  is  of  interest,  the  loggia  and  gallery  well  contrived 


THE  HOODED  ENTRANCE  TO  THE  COURT 

It  is  on  this  moulded  archway,  with  its  original  grouping  of  windows, 
plants  and  trellises  that  so  much  praise  has  been  bestowed.  Against  the 
wall  on  the  far  side  of  court  is  a long  figure  panel  in  rich  colors 


winds  ruffle  its  surface  and  whip  the  outline  into  and  out  of  all  shape  it  brings 
a scene  of  humor  that  is  indeed  entertaining.  The  sun  plays  an  important 
part  upon  the  main  or  southern  frontage.  It  enters  the  loggia  between  the 
library  and  dining-room,  reaching  the  gallery,  and  from  there  extends  into 
the  court  again.  Later  in  the  day  it  climbs  the  fence  on  the  western  side  of 
the  court,  gilding  everything  till  evensong,  then  hides  behind  the  big  trees 
till  morning. 

The  house  is  reached  by  a circuitous  route  through  the  woods  and  the 
entrance  is  on  the  eastern  side  by  means  of  what  has  been  facetiously  termed 
the  “dog  trot.”  It  is  a hooded  entrance  leading  to  the  court  as  well  as  to 
the  gallery  of  the  lower  floor  and  to  all  the  important  rooms.  Splendidly 
does  the  house  open  up  and  yet  there  is  a sense  of  seclusion  and  privacy  in 
the  planning.  It  is  a well-contrived  place  for  the  reception  of  guests. 

The  lettering  of  the  accompanying  sketch  plan  indicates  the  principal 
rooms.  A,  B and  C give  the  position  of  the  studio  suite.  I)  is  the  dining- 
room and  E the  library.  F shows  the  den,  G the  kitchen,  H the  service  hall 
and  I the  billiard-room.  It  is  the  design  of  an  architect  working  with,  or 
at  least  inspired  somewhat  by  his  brother-artist,  the  painter,  son  of  the 
owner,  and  his  immediate  needs  as  well  as  the  requirements  of  the  family 


50 


MR.  A.  C.  BARTLETT’S  HOME,  LAKE  GENEVA,  WIS. 


51 


have  entered  into  the  scheme  of  things.  Modernity  and  moderation  or  ap- 
propriateness are  written  large  across  the  face  and  are  to  be  seen  in  the  plan. 
In  some  subtle  way  this  little,  informal  co-partnership  has  led  to  unusually 
interesting  results  of  an  intimate  nature  to  which  a sensitive  mind  will  nat- 
urally respond  with  delight.  Although  modern  in  conception,  modern  in 
execution,  modern  in  its  make-up,  it  is  very  old,  prehistoric  in  fact,  in  some 
of  its  detail  and  arrangements  and  in  its  manner  of  using  concrete.  The 
ancient  Assyrian  handled  some  of  his  little  country  terrace  garden  manipu- 
lations very  much  after  the  manner  adopted  here.  His  general  conception  of 
things  is  to  he  seen  in  the  structure  of  the  pergola  and  in  the  design  of  the 
fences.  Yes!  if  you  please,  plain,  everyday  fence  lines  can  be  made  in- 
teresting! The  classics  did  it.  I,  for  one,  am  delighted  to  see  the  moderns 
adopt  the  same  course. 

It  is  a solution  of  an  unusual  problem  which  is  very  delightful  because 
of  the  things  it  does  not  do  and  the  method  by  which  certain  little  essentials 
are  glorified  with  scarce  the  expenditure  of  the  dollar,  without  the  utiliza- 
tion of  some  grandly  extravagant  ornament,  and  this  is  the  house  of  a 
painter,  of  a designer  of  decoration,  of  a gentleman  whose  work  is  well 
known  for  its  breadth  of  understanding  as  well  as  for  the  excellency  of  its 
drawing  and  the  charm  of  its  color.  Mr.  Frederic  Bartlett’s  paintings  are 
ambitious  and  imbued  with  the  story-telling  quality.  It  is  also  an  interest- 
ing house  because,  with  all  its  modernity,  it  shows  a right  hearty  respect  for 
architectural  traditions.  It  recalls  some  of  the  scenes  in  northern  Italy. 
The  arrangement  of  the  openings  is  well  studied.  The  sense  of  proportion 
has  had  much  to  do  with  the  shaping  as  well  as  the  locating  of  windows 
and  doors.  Each  frontage  has  one  distinguishing  accent  when  viewed  from 
the  outside,  and  when  the  court  is  entered,  the  court  which  runs  north  and 
south,  another  type  of  picture  is  disclosed. 

Still,  like  the  scene  at  the  theater,  there  is  one  center  of  everything.  In 
the  house  problem  there  is  no  spotlight  with  its  arrogant  preferences,  at  times 
so  wonderfully  disturbing  to  the  audience  however  it  may  Hatter  the  player, 
but  the  sun,  nature’s  smiling  luminary,  knows  no  such  dictation.  Its  entrance 
into  rooms,  into  the  remote  corners  of  the  property,  depends  largely  upon  the 
thoroughness  and  care  of  the  architect.  “Does  the  sun  enter  here  ? For  how 
many  hours  do  we  have  the  sun?”  is  perpetually  heard.  Many  country 
houses  have  been  ruined  simply  because  they  were  not  properly  lighted.  It 
is  as  important  as  drainage.  This  lighting  is  an  omnipresent  element  of  ar- 
chitectural, I may  say  of  human  necessity,  for,  in  a house  scheme,  the  au- 
dience is  always  at  home.  The  scenery  cannot  be  re-painted  or  touched  up, 
nor  can  the  curtain  very  well  be  rung  down. 


52 


THIS  REMINDS  US  OF  THE  VILLA  OF  A PROSPEROUS  ROMAN  IN  THE  TIME  OF  THE  EARLY  RENAISSANCE 


Mr.  G.  R.  Thorne’s  Home  at  Lake  Forest,  111. 

Howard  Shaw,  architect 


HAT  this  house  has  a strong  personality  everyone  must  admit. 
It  might  well  be  classed  as  the  villa  of  a prosperous  Roman 
at  the  time  when  that  all-conquering  force  held  absolute  sway 
in  the  northern  section  of  Italy  during  the  grand  period  of 
the  Renaissance,  so  Roman  is  it  in  spirit  and  idea.  It  is  now 
some  little  time  since  the  native  forest  bordering  Lake  Michi- 
gan was  disturbed  and  trees  cut  and  uprooted  to  make  way  for  this  house, 
built  for  Mr.  Edward  L.  Ryerson  of  Chicago  and  a few  years  later  sold  to 
the  present  owner,  Mr.  George  R.  Thorne.  It  made  at  the  time  no  little 
talk  even  in  this  locality  of  big  things.  The  Chicagoan  is  generally  acknowl- 
edged to  be  a doer  rather  than  a dreamer,  and  while  the  rest  of  the  country 
hesitates,  investigates  and  searches  for  a precedent,  behold,  he  builds ! The 
idea  that  the  American  is  the  Roman  of  to-day  might  well  emanate  from  this 
enterprising  section,  where  timidity  seems  to  he  unknown. 

The  villa  is  unusual  in  proportion,  up-to-date  in  plan,  old  in  spirit. 
The  walling  is  of  solid  concrete,  after  the  Roman  fashion,  not  of  Traver- 
tine. Rather  is  it  of  the  concrete  of  the  sort  described  by  some  classic 
writers  as  Opus-incertum.  Rough  and  vigorous  is  the  material  of  which 
it  is  made.  The  sand  is  coarse,  the  stone  small,  the  cement  well  burnt. 
The  surface  of  the  walling  does  not  reveal  the  markings  of  the  wooden 
forms,  as  in  the  case  of  the  ancient  foundations  of  the  temple  of  Titus  re- 
cently exposed  to  view,  because  the  modern  bush  hammer  has  here  been 
applied  so  vigorously  upon  the  surface  that  the  walling  speaks  its  own 
language,  direct,  recognizable  everywhere  in  the  building  world,  the  lan- 
guage of  modernity  and  utility,  a wholesome  force  which  endures.  Unlike 
the  more  usual  surface  of  cement  applied  to  brick  or  frame,  this  weathers 
delightfully. 

The  walls  are  some  two  feet  in  thickness  throughout,  running  from  the 
footing  to  the  underside  of  the  springing  of  the  roof.  Inserted  vertically 
some  eight  inches  apart  are  porous  tiles  three  inches  thick  to  prevent  the 
dampness  from  penetrating.  The  roof  is  not  of  the  heavy  stone  type  fav- 
ored in  classic  times,  but  is  so  constructed  that,  while  it  does  not  endure 
for  so  long  a period,  it  is  infinitely  lighter  in  weight  and  for  many  reasons 
more  desirable  for  our  general  use.  It  is  of  slate,  variegated  in  shape  and 


WORTHY  THE  ENTRANCE  FOR  A DOGE  OF  VENICE,  IS  THIS  ARCADING 
Delicate,  lace-like  shadows  from  the  royal  oak  bestow  a gracious  benediction  upon  the  threshold 


54 


MR.  G.  R.  THORNE’S  HOME  AT  LAKE  FOREST,  ILL. 


55 


color,  which  is  green  and  purple  in  tone.  Its  liberal  projection  casts  a 
welcome  shade  over  the  upper  window  during  the  heat  of  the  day.  The 
blinds  outside  are  painted  somewhat  after  the  fashion  of  the  bluish-green 
so  frequently  associated  with  the  older  section  of  picturesque  Munich. 

It  is  a well-contrived  house  running  east  and  west,  facing  north  and 
south.  The  large  square  living-room  is  in  the  center  of  the  block,  the  meet- 
ing place  of  everything  and  everyone.  It  is  a big  open  court  in  effect, 
splendidly  lighted,  its  casements  opening  to  the  floor  upon  the  terrace 
which  faces  the  south.  The  gallery  immediately  behind  is  of  the  same  im- 
posing length,  hut  of  a different  proportion,  giving  reasonable  wall  space 
for  pictures,  and  the  staircase  is  a little  apart,  within  a liberal  recess  and 
with  walling  of  its  own,  enclosed,  out  of  sight,  wide  in  reality  and  wider  still 
for  those  invited  to  ascend.  The  staircase  is  a private  alleyway  rather  than 
a mere  architectural  problem  the  solution  of  which  is  an  occasion  for  dis- 
play. Like  many  of  the  older  houses  of  Italy  the  grounds  and  the  lower 
rooms  are  beautiful  and  big  enough  for  everyone,  and  on  them  is  distinctly 
the  architectural  accent.  This  concealment  of  the  entrance  to  the  many 
rooms  above,  the  more  intimate  family  apartments,  is  excellent. 

The  house  is  not  raised  on  an  artificial  level;  it  has  no  superimposing 
base,  but  stands  within  a few  inches  of  the  natural  surface  of  the  ground, 
sufficiently  high  to  secure  protection  from  a chance  washout  or  during  the 
dreary  season  when  nature  is  mantled  heavily  with  snow.  The  dining-room 
with  its  dining-porch  opens  from  the  easterly  side  of  the  living-room.  It 
is  approachable  also  from  the  gallery.  The  service  wing  is  a further  ex- 
tension. The  library  opens  upon  the  westerly  side  of  the  living-room  and 
it  also  has  its  enclosed  porch  and,  like  the  dining-room,  is  reachable  from 
the  gallery.  The  extension  of  the  western  wing  is  for  the  accommodation  of 
the  guests.  It  has  a private  entrance  and  many  other  provisions  for  their 
comfort. 

Much  attention  has  been  bestowed  upon  the  materials.  This  is  notice- 
able both  within  and  without.  The  house  is  of  a large  scale  and  materials 
count  here  in  the  composition  more  than  in  the  average  case.  They  have 
entered  largely  into  the  interpretation  of  the  design.  It  is  a concrete  house, 
but  the  pavements  are  often  of  red  brick  or  red  tile.  The  pavement  of  the 
terrace  with  the  steps  to  the  loggia  at  each  end  of  the  southern  frontage 
and  the  northern  entrance  is  brick  upon  edge.  The  paving  of  the  loggias  is 
of  red  tile.  The  long  gallery  is  also  paved  in  much  the  same  manner.  This 
has  a way  of  tying  the  place  down  to  the  ground.  The  red  is  good  to  live 
with.  Low  and  rich  in  color,  it  speedily  mellows  delightfully  with  age.  The 
entrance  from  the  northern  side  is  worthy  the  frontage  of  a palace. 


50 


SIERRA  MADRE  VILLA  WITH  THE  SERENITY  AND  REFINEMENT  OF  SOME  OF  THE  FLORENTINE  PALACES 
A graceful  retreat  among  the  mountains  far  from  the  turmoil  of  city  life.  A spirit  of  peacefulness  prevails 


Miss  T.  H.  Graham’s  Home,  Pasadena 

Robert  D.  Farquhar,  architect 

Illustrations  from  photographs  by  Graham  Photo  Co. 


IA  ITALIA”  is  the  name  so  graciously  bestowed  upon  the 
villa  recently  built  for  Miss  Graham  in  the  Sierra  Madres  of 
southern  California.  The  first  view  is  very  pleasing,  some- 
what startling  perhaps,  as  though  the  realization  of  a dream. 
As  a matter  of  fact,  it  is  rather  the  result  of  a ripened  expe- 
rience during  an  extended  residence  among  the  picturesque 
cities  whose  shores  are  laved  by  the  luminous  waters  of  the  Mediterranean. 
Stimulated  by  the  exalted  altitude  of  the  background,  the  house  is  built 
upon  an  elevated  terrace-like  bank  so  far  above  the  plateau  level  of  the  foot- 
hills as  to  resemble  somewhat  a stage  setting  for  a drama.  The  little  place 
is  vividly  white,  contrasting  with  the  luxuriant  foliage  of  the  lordly  euca- 
lyptus trees  behind  it,  their  rich  mantling  bringing  into  prominence  the  out- 
line of  the  interesting  composition.  The  house  is  within  a few  minutes’ 
walk  from  the  trails  leading  to  the  small  canons  which  cut  into  the  mountain 
side,  in  constant  enjoyment  of  the  breezes  which  blow  in  from  the  Pacific. 

Although  small,  it  is  somewhat  conspicuous  in  that  section  of  the  Sierra 
Madre  which  is  enclosed  by  the  wide  and  beautiful  valley  of  the  San 
Gabriel  River  and  its  upland  beach,  midway  between  Pasadena  and  Los 
Angeles.  It  is  an  all-the-y ear-round  house,  built  substantially  of  concrete 
and  stone  to  withstand  the  penetrating  nature  of  the  mountain  mists  and 
dense  fogs,  with  no  effort  at  grandeur  but  with  a certain  novel  simplicity 
of  outline  that  is  singularly  pleasing.  The  walls  are  thick,  super-imposed 
and  so  constructed  with  flat  arches  as  to  support  the  upper  floor  and  the 
colonnade  which  runs  along  the  front  and  ends  of  the  house.  This  upper 
floor  is  reached  by  a wide,  open,  outside  staircase  so  that  the  upper  chambers 
have  their  own  independent  entrance  direct  from  the  garden  in  addition  to 
the  usual  inside  stairway  from  the  hall. 

The  overhanging  roof  of  red  tile,  the  pergola  which  crowns  each  bay, 
the  calm  severity  of  the  order  between  and  the  general  arrangement  of 
openings  show  unmistakably  the  influence  of  the  villas  and  minor  palaces 
built  on  the  outskirts  of  Rome  during  the  days  of  Dante.  Indeed,  the  com- 
position shows  frankly  its  indebtedness  to  the  Rome  of  the  classics. 


57 


THE  OUTSIDE  STAIRS,  AN  AUXILIARY  ENTRANCE  TO  THE  UPPER  CHAMBERS 
It  is  encouraging  to  see  this  modification  of  Roman  architecture  in  our  favored  land 


58 


MISS  T.  H.  GRAHAM’S  HOME,  PASADENA 


59 


The  staircase  as  an  architectural  feature  for  the  outside  of  the  house 
has  entertained  the  designers  of  the  French  chateau  for  many  centuries. 
This  interesting  element  was  for  a long  time  a close  competitor  with  the 
circular  tower  and  the  roof.  It  was  the  central  accent  of  many  well-known 
compositions.  This  is  to  be  seen  to-day  in  the  buildings  of  the  broad  valley 
of  the  romantic  Loire.  The  designer  of  this  attractive  California  house, 
while  maintaining  the  advantage  of  a direct  entrance  to  the  upper  chambers, 
has  relegated  this  serviceable  feature  to  the  end  of  the  house,  leaving  intact 
and  undisturbed  the  central  part,  the  entrance  court  and  approach,  very 
much  as  did  the  Pompeians,  so  there  is  ancient  and  distinguished  authority 
for  this  form  of  design.  It  was  from  a villa  of  this  description  that  Pliny, 
the  Younger,  addressed  by  letter  Domitius  Apollinaris  during  one  of  the 
many  summers  lie  spent  in  his  country  house  in  Tuscany,  and  again  a 
friend,  Gallus  by  name,  when  within  seventeen  miles  from  Rome  in  his  sub- 
urban house.  These  letters  describe  vividly  the  beauty  of  country  and  town 
life  as  enjoyed  by  the  wealthy  Roman  in  the  first  century.  They  gave 
graphic  pictures  of  the  scenery,  naming  with  infinite  care  and  deliberation 
the  trees  and  shrubs  of  the  gardens,  the  materials  of  which  the  houses  were 
built,  the  general  division  of  the  rooms,  realizing  their  advantages  and  the 
way  in  which  they  are  so  strangely  similar  to  that  form  of  building  which 
is  favored  in  our  own  time.  It  is  doubtless  interesting  to  remember  that  the 
famous  letter  to  Tacitus,  in  which  Pliny  describes  graphically  the  terrible 
tragedy  of  Vesuvius,  was  penned  in  a villa  of  this  description  belonging  to 
his  mother,  and  within  sight  of  the  volcano. 

In  laying  out  the  property  of  Miss  Graham  an  effort  has  been  made  to 
get  the  most  out  of  a long  narrow  site  which  has  considerable  variation  of 
level,  a somewhat  formidable  frontage  upon  the  main  road  leading  directly 
to  the  foot  hills  and  blessed  by  a stream  of  running  water.  The  house  is 
built  upon  the  upper  section  of  the  property,  running  east  and  west,  and 
stands  boldly  in  front  of  the  eucalyptus  trees,  behind  which  is  an  elevated 
tank  for  the  house  supply.  The  principal  entrance  is  at  the  rear.  Advan- 
tage has  been  taken  of  the  extended  frontage  to  permit  a somewhat  unusual 
driveway  from  the  lower  level,  going  along  the  far  side  without  disturb- 
ing the  general  picture,  and  yet  in  full  enjoyment  of  the  orange  and 
lemon  trees  and  the  flower  garden.  Of  course,  first  impressions  count  for 
so  much  and  the  laying  out  of  a place  is  everything. 

“Mia  Italia”  is  a happy  name  for  so  interesting  a property  and  to  the 
distinguished  owner  it  must  always  he  gratifying,  recalling  as  it  does  the 
many  pleasant  years  spent  in  sunny  Italy. 


60 


Long  Island  Home  of  Mr.  A.  W.  Rossiter 

Alhro  & Lindeberg,  architects 

Illustrations  from  original  drawing  and  from  photographs  by  Julian  Buckly 

ERE  is  a new  house  in  an  old  setting.  The  approach  also  is 
excellent.  Big  chestnuts  and  far-spreading  elms  line  the 
driveway  to  the  front  porch  so  that  the  first  impression  is 
practically  all  that  can  be  desired.  The  scene  is  in  that 
favored  portion  of  Glen  Cove,  Long  Island,  which  for  many 
years  has  been  characterized  by  the  name  of  Red  Spring 
Point.  An  examination  of  the  views  of  the  country  house  which  Mr.  Ar- 
thur W.  Rossiter  has  recently  built  is  encouraging  because  it  illustrates  an 
up-to-date  method  of  attacking  an  old  problem. 

From  the  entrance  the  great  pageant  of  the  Sound  opens  up  with  its 
surprising  picture.  The  house  has  been  built  several  feet  above  the  original 
level  a little  to  the  north  of  the  former  homestead,  so  unfortunately  destroyed 
by  fire  some  few  years  ago.  The  small  circular  lily  pool  in  the  sunken 
court  is  to-day  the  approximate  center  of  the  old  building.  The  plan  tells 
the  story.  It  is  an  L-shaped  house  with  the  service  wing  running  in  the 
northeasterly  direction  convenient  to  and  in  line  with  the  dining-room.  This 
elevation  of  the  ground  floor  level  by  artificial  terracing  has  improved  things 
amazingly,  by  bringing  into  prominence  the  ever  engaging  panorama  of  the 
Sound  with  its  endless  procession  of  boats,  its  vivid  outline  of  City  Island, 
surrounded  by  barges,  freight  boats  and  yachts  lying  at  anchor.  The 
garden  is  not  only  protected  from  the  public  gaze  and  the  wind,  being 
located  several  feet  below  the  level  on  three  sides,  but,  thanks  to  the  thick 
foliage  of  the  old  trees  and  bushes  lining  the  outer  border,  it  is  exceedingly 
retired,  sheltered,  an  agreeable  setting  for  the  subtle  comedy  of  domestic 
life.  The  garden  is  protected  on  the  easterly  side  by  a thick  hedge.  Here 
the  ground  drops  suddenly  some  twenty  feet  or  more  and  slopes  gently 
back  into  the  meadow.  There  is  an  interesting  view  from  this  small  loggia 
which  has  recently  been  converted  into  a breakfast  room.  It  is  very  de- 
lightful in  many  ways.  It  is  a view  with  a peculiar  personality.  Right 
royally  does  the  design  show  that  advantage  has  been  taken  of  the  site  and 
the  trees.  The  house  is  attractive  in  appearance,  simple  in  outline.  There 
is  a frankness  and  wholesomeness  about  the  composition  which  is  delightful 


61 


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62 


LONG  ISLAND  HOME  OF  MR.  A.  W.  ROSSITER 


63 


as  well  as  serviceable.  The  plan  provides  a direct  and  convenient  arrange- 
ment of  rooms  with  a loggia  at  each  end  of  the  house,  the  living  and  dining- 
rooms between.  The  loggias  are  paved  with  red  brick.  The  one  leading 
from  the  living-room  has  a large,  open  fireplace;  they  are  pillared  in  a 
delightful  manner,  encroaching  a little  upon  the  terrace  and  giving  an  in- 
teresting accent  to  the  elevation.  The  stuccoed  walling  promises  to  weather- 
stain  shortly;  as  it  tones  with  the  color  of  the  setting  it  will  resemble  some- 
what the  old  houses  of  southern  Europe.  Travelers  point  to  the  chalets  of 
the  Tyrol,  to  the  hillside  and  valley  houses  of  Spain,  claiming  that  in  some 
remarkable  manner  that  fascinating  land  of  dreams  holds  and  cherishes 
within  her  wide  boundaries  more  than  her  share  of  the  world’s  beauties. 
We  are  told  that  her  sunlight  is  brighter,  her  mountain  air  softer  than 
ours.  Of  the  exquisite  texture  of  her  trim  thorn  hedges,  ilex-woods  and 
myrtles,  the  startling  blue  of  her  cloud-emblazoned  sky,  flaming  acres  red 
with  poppies,  golden  corn  fields  and  vineyards,  we  often  hear.  Still,  the 
brilliancy  of  the  sunlight  is  more  noticeable  upon  the  houses  and  notice- 
able because  of  the  potency  of  the  setting.  Nature  seems  to  find  here  an 
informal  playground,  something  to  toy  with,  built  by  man.  There  the 
whitened  surface  of  the  houses  is  often  a quaint  epitome  of  the  district, 
every  foot  disclosing  a different  version  of  the  story ; as  the  plaster  has  been 
patched  in  places  the  repair  counts  occasionally  as  an  accident  which  soon 
mellows  acceptably. 

The  house  will  doubtless  be  remembered  by  some  because  of  its  treat- 
ment of  openings  which  upon  the  southern  frontage  are  very  large.  The 
roof  is  kept  low,  and  while  the  overhang  of  the  eaves  is  considerable  the 
projection  of  the  gables  is  slight  and  there  is  not  any  attempt  to  magnify 
them  into  a decoration.  The  purlins  project  sufficiently  to  carry  the  over- 
hanging rafters.  At  stated  intervals  the  shingles  are  doubled  up,  over- 
lapping so  as  to  form  strongly  marked  horizontal  bands.  This  increases  the 
apparent  length  of  the  roofing.  It  also  lightens  it  somewhat  in  effect. 
The  value  of  horizontal  lines  is  also  shown  in  the  projecting  trellis-work 
at  each  end  of  the  house  where  the  creepers  will  shortly  hang  over,  giving 
a delightful  shadow  and  lessening  the  need  for  the  striped  awnings,  by  pro- 
viding a living  transparent  green,  the  tendrils  and  foliage  of  which  change 
with  the  seasons.  These  are  some  only  of  the  points  to  which  praiseworthy 
attention  has  been  given.  They  are  points,  the  result  of  study  upon  the 
ground  in  our  own  country  under  local  conditions.  And  it  is  a type  of 
study  much  needed  if  we  are  ever  to  take  advantage  of  the  best  elements  of 
the  architecture  of  the  old  countries.  Houses  like  this  answer  immediately 
the  impatient  question,  “Shall  we  ever  have  an  American  style?” 


AN  AGREEABLE  SETTING  FOR  THE 
Stately  cedars  accenting  upright  lines  number 


SUBTLE  COMEDY  OF  DOMESTIC  LIFE 
among  elements  which  have  received  attention 


64 


LONG  ISLAND  HOME  OF  MR.  A.  W.  ROSSITER 


65 


Realizing  that  after  all  the  plan  is  the  king  or  constitution  of  every 
project  toward  which  we  naturally  turn  as  authority  for  discussion,  look  at 
the  acompanying  sketch.  It  resembles  a remark  on  the  margin  of  a valued 
etching,  and  is  an  intimate  memorandum,  serviceable  alike  to  everyone.  We 
learn  that  A is  the  living  room,  with  its  wide  casement  opening  upon  the 
sunken  lawn  connecting  with  B the 
dining  room  attached  to  the  long 
service  wing;  that  C designates  the 
entrance  hall,  and  that  the  letter  L , 
which  appears  on  two  occasions, 
indicating  the  importance  the  de- 
signer assigns  to  outdoor  rooms, 
shows  the  position  of  the  loggias, 
which  accent  each  end  of  the  house. 

The  loggias  occupy  a very  promi- 
nent position  in  the  general  scheme. 

The  one  near  the  entrance  has  a 
length  of  five  bays.  It  has  also  a 
large  open  fireplace,  so  that  it  could 
well  be  used  late  in  the  autumn  and 
early  winter  as  an  outdoor  room 
enclosed  with  glass.  We  should  re- 
member that  it  opens  from  the  hall 
and  living  room.  The  smaller  log- 
gia at  the  easterly  end  has  also  its 
individual  note,  for  it  has  an  exten- 
sive view  across  the  country  from  a 
considerable  elevation,  being  locat- 
ed on  the  extreme  edge  of  the  bank. 

It  makes  a singularly  attractive 
picture  from  the  terrace  below. 

Since  the  architects  have  concerned 

themselves  personally  with  creepers,  learning  their  requirements  and  realiz- 
ing that  as  creatures  of  life  they  require  certain  practical  provisions  of  a 
structural  nature,  they  have  designed  trellises  blocking  them  out  from  the 
buildings  to  give  something  to  which  their  delicate  tendrils  can  cling. 

The  interest  in  this  house  centers  also  upon  the  vigorous  manner  in 
which  the  architect  has  attacked  the  problem.  Ruthlessly  lias  he  swept 
aside  certain  too  frequently  acknowledged  precedents,  contenting  himself 
with  practical  service  to  the  occasion. 


THE  PLAN  TELLS  THE  STORY 

We  see  the  location  of  the  big  trees  bordering 
the  entrance,  the  equally  prominent  shrubbery  upon 
a lower  level,  the  two  terraces  and  garden  with 
circular  pool;  still  there  are  other  elements  of  beauty 


DETAIL  OF  ENTRANCE  PORCH  AND  BAY  SHOWING  GABLES  AND  CHIMNEYS 
It  is  a substantial  house  embodying  certain  characteristic  details  of  the  Elizabethan  period 


66 


THE  DRIVEWAY  IS  CONCEALED  UNDER  A HEAVY  MANTLING  OF  SNOW 


The  owner’s  love  for  the  native  woods  is  vividly  shown.  He  was  loath  to  sacrifice  any  trees. 
Doubtless  in  many  ways  the  trees  respond  to  this  consideration,  protecting  the  house  from  high  wind 


Property  of  Mr.  R.  W.  Houghton,  Nashotah,  Wis. 

William  H.  Schuchardt,  architect 

HERE  is  an  unusual  presentation  which  is  so  full  of  surprises  that  we 
are  tempted  first  to  speak  of  the  setting-  rather  than  of  the  house. 
As  we  look  at  it  and  realize  the  density  of  the  wood  we  see  in  a mo- 
ment that  photographic  views  of  the  interior  were  not  possible  at  any  other 
period  of  the  year.  We  are  thankful  indeed  for  this  winter  view.  The 
house  is  built  upon  the  easterly  slope  of  one  of  the  many  beautiful  lakes 
in  the  vicinity  of  Nashotash,  Wisconsin,  a little  west  of  the  energetic  city 
of  Milwaukee.  The  snow  has  given  an  informal  and  naive  setting,  chang- 
ing the  values  as  the  painter  would  say,  bringing  into  prominence  the  rich 
browns  of  the  roofing,  the  half  reflected  lights  of  the  windows,  the  curi- 
ously mottled  effect  of  the  rough-cast  upon  the  walling.  It  has  given  a 
sharpness  and  brilliancy  to  every  outline.  The  chestnuts  and  oaks  remain 
undisturbed  as  though  companions  to  the  wholesome  looking  barge  boards 
which  accent  the  projecting  eaves.  These  vigorous  and  stately  timbers  ap- 


67 


FROM  THE  VERANDA  WE  GET  AN  ADMIRABLE  VIEW  OF  THE  LAKE 
The  design  provides  for  a large  sleeping  porch  in  each  gable  over  the  loggia 


pear  also  within  the  house,  reminding  us  of  the  rich  forests  covering  the 
great  bosom  of  mother  earth  in  this  section  of  the  state. 

The  house  is  built  upon  the  extreme  border  of  a glen.  A few  feet  from 
the  edge  of  the  long  loggia  the  ground  slopes  about  forty-five  degrees, 
running  down  towards  the  lake.  It  is  approached  by  a long  driveway 
through  the  wood  with  practically  no  sacrifice  of  the  timber,  without  any  at- 
tempt at  a garden,  a border  of  flowers  anywhere,  or  an  added  color  note  of 
any  description  whatsoever.  The  picture  is  beautiful.  The  property  of  some 
sixty  acres  remains  wild,  rugged  in  part.  It  is  literally  and  essentially  a 
house  in  the  native  wood.  A house  for  the  summer,  filled  with  resinous  per- 
fume, a spice-like  scent  resembling  a sylvan  incense.  The  trees  not  only  cast 
a graceful  diaper  upon  the  scene  but  they  jostle  its  projections,  making  the 
air  melodious  when  they  are  fretted  with  the  wind.  No  tree  has  here  been 
sacrificed  for  any  flowering  plants,  terrace  or  pathway.  It  is  practically  a 
large,  well-arranged  camp,  with  many  of  the  conveniences  of  the  city,  the 
wildness  and  abandon  of  the  forest,  plus  the  ability  to  entertain  hospita- 
bly. It  is  evidently  the  work  of  a good,  live,  up-to-date  architect  who  has 
studied  the  lay  of  the  land  and  its  opportunities,  and  the  desire  of  the  fam- 
ily to  enjoy  freedom  from  the  conventions,  taking  advantage  of  certain 


68 


THE  DINING  ROOM  IS  HOSPITABLE  IN  APPEARANCE  AND  CONVENIENT 
It  connects  with  the  living  room  and  opens  direct  upon  the  long  veranda  overlooking  the  lake 


views  across  the  water  in  a southerly  direction,  and  also  of  the  welcome  sum- 
mer breezes  from  the  same  quarter.  The  building  is  located  so  near  the 
edge  of  the  bank  that  it  was  found  wise  to  let  the  service  wing  follow  the 
original  line  of  the  glen,  a scheme  which  has  added  greatly  to  the  comfort 
of  the  domestic  service  also,  leaving  undisturbed  the  northern  exposure  of 
the  breakfast  porch.  The  block  of  the  house  receives  the  full  advantage  of 
shade  from  the  overhanging  trees  and  protection  from  the  glare  reflected  on 
the  surface  of  the  water,  and  thanks  to  its  position,  the  benefit  of  the  air. 

It  has  some  of  the  stately  proportions  of  the  Tudor  period.  The  porch 
and  bay  over  is  not  unlike  some  of  the  castles  at  Nuremberg.  The  roofing  is 
excellent. 

Look  at  the  size  and  construction  of  the  living  room  with  its  big  win- 
dows, its  long,  westerly  loggia,  heavily  beamed  ceiling,  and  its  inviting  in- 
gle; for  the  summer  nights  are  occasionally  cold  and  the  firelight  always 
picturesque.  It  might  well  be  classed  as  a one-roomed  house,  so  big,  open  and 
hospitable  is  it  in  its  general  appearance  and  make-up.  The  dining  room  is 
small  by  comparison  and  very  cozy,  screened  off  behind  the  bookcases,  hav- 
ing its  own  hearth  and  porch.  The  living  room,  or  house  place,  as  it  might 
well  be  termed,  following  the  custom  prevalent  in  the  northern  section  of 


69 


THE  UPPER  HALL  SHOWS  MUCH  OF  THE  SERIOUS  CONSTRUCTION  OF  THE  HOUSE 
We  get  here  a detail  of  the  newel  post  and  balustrading,  and  an  idea  of  bedroom  doorways 

England,  has  within  its  area  many  little  surprises.  Not  only  does  the  sun 
smile  upon  the  big  ingle-nook  of  goodly  proportion,  upon  the  large  Colo- 
nial writing  table  in  the  center  and  upon  the  shelves  of  books  in  faded  covers, 
but  it  vitalizes  and  inspires  everyone.  From  an  unexpected  angle  tbe  visitor 
catches  a glimpse  of  the  ragged  edge  of  the  lake,  which  changes  with  the 
season.  Following  the  lay  of  the  land  the  floor  of  the  house  has  been  kept 
as  close  to  the  original  surface  of  the  ground  as  consistent  with  good  build- 
ing. We  pass  down  two  steps  from  the  entrance  hall  and  again  down  to  the 
long  loggia  which  is  but  a few  inches  above  the  natural  level.  Remember- 
ing the  comfortable  old  taprooms  of  the  village  wayside  inn,  the  delightful 
cozy  parlors  behind  the  bar,  the  setting  of  romances  of  merry  England  dur- 
ing the  latter  part  of  the  Victorian  era,  the  architect  has  imbued  the  general 
scheme  with  many  features  that  are  singularly  pleasing,  viewed  either  dur- 
ing the  day  or  in  the  evening.  We  are  reminded  here  of  the  fiction  of  Charles 
1)  ickens,  who  so  frequently  located  his  stories  in  the  taproom,  the  meeting 


70 


SKETCH  SHOWING  THE  DIRECT  METHOD  OF  HANDLING  THE  STAIRCASE  PROBLEM 
The  wall  surfaces  are  frankly  treated,  giving  an  admirable  suggestion  of  half  timber  work 


place  of  the  neighborhood,  the  center  of  things  very  much  alive:  the  picture 
at  Nashotash  is  so  much  more  human  than  the  average  country  house  of  to- 
day. It  is  not  overwhelmed  with  style.  The  little  casements  between  the 
two  doors  at  the  easterly  end  of  the  dining  room,  the  treatment  of  the  small 
closets  and  of  the  service  entrance  under  the  stairway,  the  detailing  of  the 
stairway  and  its  beamed  ceiling  of  the  upper  hall,  illustrate  vividly  the  re- 
gard for  the  daily  comfort  of  the  family  and  the  innate  love  of  a romantic  as- 
sociation. There  is  not  anything  coarse  about  this  detailing;  it  is  all  good, 
direct  in  idea,  with  the  accent  in  the  right  place.  There  is  considerable  char- 
acter in  the  balnstrading  and  newel  posts,  in  the  trim  and  hardware  generally. 
The  design  is  free  from  that  coarse,  that  brutal  form  of  construction  thought 
by  some  to  be  essential  to  a house  where  good  solid  timber  is  plentiful.  Here 
is  a spirit  of  restraint  and  respect  for  the  individuality  of  the  various  crafts. 
Stucco  and  brick  work  have  here  a prominent  part. 

The  color  of  the  interior  is  pleasing.  The  wall  is  the  shade  of  autumn 

71 


A SCREEN  DIVIDES  THE  LIVING  FROM  THE  DINING  ROOM 
It  must  be  remembered  as  an  unusual  house,  big  in  idea,  hospitable  in  intent  and  very  spacious 

leaves  appearing  in  diaper  form  upon  the  surface  with  a cool,  gray  back- 
ground, recalling  the  silvery  bark  of  the  white  birch.  It  has  the  effect  of 
an  old  Louis  XV  damask,  with  its  smoky  moonstone  blossoms  and  quaint 
arabesque  ornament.  The  wainscoting  and  beaming  of  the  ceiling  is  charged 
with  a warm  tincture  which  is  rich,  fulsome,  rather  dark  in  places,  yet  trans- 
parent and  agreeable  in  tone.  This  also  has,  thanks  to  the  inequality  and 
open  texture  of  the  grain,  an  element  of  silvery  gray  when  viewed  in  a cross 
light.  In  other  words,  the  architect  has  remembered  that  upon  the  color  of 
the  woodwork  do  many  famous  hostelries  depend  for  their  charm.  The  main 
girder  crossing  the  living  room  is  solid.  It  is  supplemented  in  places  by 
heavy  wrought-iron  bands.  Surely  there  never  was  a more  liberal  chamber 
plan,  with  its  sleeping  porches  over  the  long  loggia,  the  comfortable  bath- 
rooms, open  fireplaces,  ample  closets  and  wide  passages. 

A visitor  says,  “It  is  a place  you  want  to  live  in  forever  and  ever,  you 
can  repose  with  the  thought  that  it  will  not  be  off  color  or  out-of-style  next 
season;  it  breathes  the  air  of  contentment.” 

Many  of  the  older  architects  of  other  civilizations  were  too  unskilled 
in  the  proper  adjustment  of  their  building  material  to  the  needs  of  the  im- 
proving education  of  the  people;  they  were  too  much  engrossed  by  the  friv- 


72 


THE  NATURAL  CENTER  OF  THINGS  DOMESTIC  WITHIN  THE  HOUSE 
The  picture  discloses  intimately  the  great  inglenook,  big  window  and  the  timbers  overhead 


olities,  the  fashions  of  the  hour,  too  cumbered  by  them,  and  their  work 
shows  manifestly  that  they  were  hampered.  Here,  however,  in  this  new  age 
of  ours,  an  age  which  desires,  above  all.  to  serve  the  living  as  well  as  reverence 
the  dead,  there  is  a distinct  reflection  of  a personality  we  to-day  classify  as 
modernity.  To  give  an  instance  of  this  restful  effect,  this  sense  of  comfort, 
this  ever-obvious  quality  of  repose  and  domesticity  wherein  it  recalls  the  best, 
the  spirit  of  the  picturesque  hostelries  of  the  older  countries,  look  for  a 
moment  at  the  front  entrance  on  the  easterly  side.  Examine  it  on  the  plan, 
look  at  it  in  elevation,  study  at  a distance  and  near  to  from  the  perspective. 
It  is  scarcely  too  much  to  say  that  here  the  architect  reveals  himself.  It  is  the 
most  delightfully  plain  little  piece  of  unaffected  construction  that  anv 
enthusiast  could  ask  for.  It  leaves  but  little  to  he  desired.  You  cannot  add 
to  it  without  spoiling  it;  to  change  it  in  any  way  is  to  disturb  the  repose,  to 
make  obvious  an  omission. 


73 


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74 


Long  Island  Home  of  Mr.  John  A.  Garver 

Stephenson  & Wheeler,  architects 

Illustrations  from  photographs  by  Julian  Buckly 

HIS  I jong  Island  home  makes  an  unmistakable  appeal — an 
appeal  which  is  a precious  heritage  of  the  past,  possessing, 
over  and  above  everything  else,  the  rare  quality  of  frank- 
ness. It  has  been  designed  and  built  very  much  after  the 
fashion  practiced  by  the  church  in  erecting  its  abbeys,  col- 
leges and  cathedrals  in  medieval  times.  Its  picturesque  out- 
line recalls  also  the  direct  planning  and  structural  integrity  of  the  minor 
manor  houses  and  pleasing  little  hostelries  of  the  hillsides  and  valleys  of 
rural  England,  conceived  and  contrived  from  the  hearthstone  outward, 
rather  than  from  the  outside  towards  the  center  of  the  building.  This  latter 
method  often  led  to  a systematic  assemblage  of  frontages  too  often  false, 
making  serious  demands  upon  the  plans  by  forcing,  as  it  were,  a compro- 
mise or  a surrender  of  privileges. 

The  architects  of  Mr.  Carver’s  home  have  not  been  content  merely  to 
contrive  the  building  so  as  to  make  it  fit  the  site,  the  family  and  the  appro- 
priation, but  have  endeavored  to  preserve  intact  the  natural  beauties  with 
which  the  property  is  so  richly  endowed.  Here  are  splendid  oak  trees  and 
two  remarkably  fine  maples,  and  a pine  that  has  weathered  many  a winter. 
Here  is  an  old  garden.  Indeed,  the  site  is  not  only  rich  in  memories, 
diversified  in  outline,  favored  with  a flower  garden  skilfully  hedged  and 
sheltered,  but  it  stands  in  a position  commanding  a wonderful  view.  It  is 
located  a mile  or  two  back  from  Oyster  Bay.  From  the  windows  of  the 
lower  story  can  be  enjoyed  its  placid  waters  with  the  rich  encirclement  of 
native  woods,  and,  beyond,  the  greater  pageant  of  the  stately  Sound. 

The  study  of  this  phase  of  English  architecture  is  excellent.  The 
men  engaged  in  the  search  for  the  underlying  principles  of  this  form  of 
Gothic  expression  must  be  sincere  artists  because  the  style,  if  so  it  can  be 
called,  is  exacting,  and  while  in  no  way  foreign  to  the  soil  has  much  to  be 
overcome  in  its  acceptance  in  this  country.  It  is  an  individual  style.  It 
makes  serious  demands  upon  the  workman.  It  is  energetic,  being  full  of 
mysticism  and  requiring,  nay,  insisting,  upon  work-enthusiasm.  For  years 
it  has  been  associated  with  monastic,  romantic  and  social  activities,  with 


75 


A PLEASING  RETREAT,  A LITTLE  HAVEN  OF  REST  NEAR  THE  ENTRANCE 
Full  of  character  and  inviting  is  this  cozy  corner;  a step  from  the  upper  terrace  to  the  hall 


76 


LONG  ISLAND  HOME  OF  MR.  JOHN  A.  GARVER 


which  the  craft  worker  was  closely  allied.  And  to  inject  this  form  of 
architectural  expression  into  our  own  country  at  this  time  requires  no  small 
ability.  As  a matter  of  fact,  the  architect  finds  himself  very  much  alone, 
struggling  with  a problem  difficult  to  understand,  hard  even  to  define. 
Here  is  a method  of  domestic  building,  picturesque  beyond  words.  In 
this  all  agree.  Years  before  the  Beaux  Arts  architectural  school  of  France 
was  ever  thought  of,  long  before  architecture  was  reduced  to  a calculat- 
ing science,  forced  to  conform  to  a jelly-mold  fashion,  to  certain  set  pre- 
cepts, wherein  individuality  was  discouraged,  even  stifled,  this  style  was 
known  far  and  wide  as  the  architecture  of  the  “plain  man.”  It  originated 
witli  and  belonged  to  men  with  an  instinctive  preference  for  common-sense 
outlines,  for  direct  scheming,  for  frank  handling  of  materials. 

Before  we  can  enjoy  in  our  own  civilization  the  captivating  little  hos- 
telries  or  minor  manors  so  revered  in  England,  we  must  imbue  the  work- 
man as  well  as  the  architect  with  real  enthusiasm  and  love  for  his  own 
individual  craft.  This  is  a truism  which  every  worker  at  the  drawing  board 
realizes.  “Oh,”  says  one,  “we  can  sketch  the  thing  on  paper  all  right.  That’s 
easy.  But  the  charm  of  the  old  is  in  the  execution,  as  well  as  in  the 
general  scheming  of  things.”  The  love  for  gables,  dormers,  overhanging 
upper  stories,  lean-to  roofs  and  ridges  following  the  gentle  slopes  of  hill- 
sides, exalted  chimneys,  quaintly  overhanging  oriels,  pierced  and  carved 
finials  and  barge-boards  must  not  end  with  the  drawing.  It  is  not  pencil 
work,  but  chisel  work  that  we  want.  And  the  chisel  cannot  always  be  oper- 
ated by  a machine.  We  must  have,  too,  plasterers  who  will  transmit,  by 
the  trowel,  in  a free,  whirligig  fashion,  their  own  “finish,”  an  informal 
handwriting,  a naive  and  very  interesting  addition  to  the  wall  surface.  But 
this  desire  we  complicate  by  demanding  other  things  as  well.  Here,  for 
instance,  in  this  home  on  Oyster  Bay  we  have  a house  which  is  semi-fire- 
proof ( that  is,  the  walls  and  the  floors  are  of  brick  and  concrete ) , a house 
enjoying  telephonic  connections  with  the  outside  world  and  electric  light, 
windows,  leaders  and  roofs  that  are  wind  and  water  tight,  first-class  plumb- 
ing and  many  other  things  never  dreamt  of  in  the  palmy  days  of  the 
ancient  manor.  The  problem  was  not  simple. 

Mr.  Garver’s  house,  standing  so  proudly  surrounded  by  great  trees 
on  the  highest  portion  of  its  undulating  acres,  is  of  liberal  measurements. 
It  is  long  and  rather  low  in  elevation,  it  is  particularly  pleasing  in  arrange- 
ment of  gables,  and  it  assigns  to  a prominent  place  the  picturesque  re- 
minders of  traditional  building,  when  men  lived  rugged  lives  in  the  open 
and  the  house  was  practically  only  a picturesque  protection  from  the  in- 
clemency of  the  weather.  The  length  reaches  almost  two  hundred  feet.  It 


78 


LIKE  A WELL-WRITTEN  STORY  OF  CONTEMPORARY  COUNTRY  LIFE,  THE  HOUSE  REFLECTS  THE  FAMILY 
oinding  us  of  England,  it  is  picturesque  and  unassuming,  intensely  practical,  yet  very  beautiful,  mellowing  with  the  landscape 


LONG  ISLAND  HOME  OF  MR.  JOHN  A.  GARVER 


70 


was,  indeed,  designed  to  make  the  most  of  its  opportunities.  It  has  been 
sympathetically  contrived  to  harmonize  with  the  site,  a site  occupied  for 
many  years  by  another  homestead.  All  this  has  been  accomplished  with 
but  little  disturbance.  Even  a portion  of  the  old  foundation,  running  east 
and  west,  has  been  used  in  re-building.  The  northern  frontage  is  accented 
by  the  front  entrance.  From  the  windows  on  the  northern  exposure  the 
gardens  are  ever  in  view. 

The  architects  preserved  intact  the  idea  of  the  central  hall,  extending 
it  through  the  house.  This  is  not  simply  a transformation  to  America  of 
to-day  of  the  old  spirit  of  domestic  building  as  practiced  in  Central  Europe 
ages  ago.  Rather  is  it  a re-assimilation  of  the  needs  of  a home.  The 
architects  have  evidently  attacked  the  problem  of  building  very  much  as  a 
playwright  struggles  to  stage  a drama  of  the  present  time.  Every  detail 
is  intensely  human,  practical  and  worthy  of  regard.  Look  at  the  porte- 
cochere.  Here  is  a feature  delighting  the  heart  of  the  ordinary  academician, 
giving  him  splendid  opportunities  for  curved  rooflines.  This  stilted  accent 
has  been  the  making  of  many  a facade.  The  views  before  us  show  this  serv- 
iceable entry  to  be  a mere  incident  in  the  composition.  The  porte-cochere 
is  connected  with  the  vestibule  of  the  hall  by  a cloister-like  passageway 
with  an  open  timbered  roof  and  balustraded  framing.  In  no  way  does  it 
disturb  the  general  arrangement  of  the  composition. 

The  entrance  to  the  library  is  distinctive.  It  is  approached  from  the 
hall  by  a wide  passageway,  under  a four-centered  Tudor  arch.  The  visitor 
descends  four  steps  within  a splayed  jamb,  receding  embrasure  fashion.  It 
is  an  interesting  threshold.  To  the  right  of  the  entrance  is  a reading  bay. 
Straight  ahead  is  a hooded  fireplace  of  stone,  occupying  the  center  of 
prominence  in  the  middle  of  a large  ingle-nook.  Books  are  everywhere. 
Each  foot  of  the  wall  where  possible  is  utilized  by  cases  for  shelving  which 
bear  eloquent  testimony  to  the  fact  that  the  owner  is  a reading  man,  num- 
bering among  his  personal  friends  many  well-known  and  revered  authors. 
Beyond  the  ingle-nook  of  this  library  is  the  family  loggia,  paved  with  Welsh 
squares.  Here  also  the  piers  are  buttressed  and  the  openings  arched,  fram- 
ing the  landscape  and  inviting  a view  which  extends  for  many  miles.  The 
living-room,  dining-room,  hall,  all  have  their  own  distinctive  bay  windows, 
which  project  so  that  the  color  and  perfume  of  the  flower  border  enters  the 
house.  These  bays  are  located  to  fit  with  the  inside  rather  than  the  outside 
of  the  house.  There  is  also  a stimulating  bay  to  the  chamber  floor,  a grace- 
ful memory  of  the  satisfactory  stairways  so  well  remembered  by  those  who 
have  spent  a portion  of  their  lives  in  the  colleges  of  Oxford  or  Cambridge. 


ARCHITECTURE  IS  SAID  TO  BE  THE  RIGHT  TREATMENT  OF  OPENINGS 
In  delightful  variation  is  this  interesting  study  in  oriels  and  bays.  Look  at  the  wealth  of  casements 


80 


LONG  ISLAND  HOME  OF  MR.  JOHN  A.  GARN  ER 


81 


There  are  sheltered  benches  flanking  the  southern  entrance  to  the  hall,  the 
northern  porch  and  the  loggia  leading  to  the  rose  garden. 

It  is  these  little  things  which  remind  us  of  the  wisdom  of  so  contriving 
our  homes  that  they  enter  into  and  become  indeed  a serious  part  of  our  lives. 


A COOL  RETREAT  FROM  WIND  AND  SUN 

The  loggia  is  the  meeting  place  of  the  family.  It  opens  from  the 
library,  is  splendidly  sheltered  and  in  full  enjoyment  of  a distant  view 

Of  course,  the  ceilings  of  the  library,  hall  and  passageway  are  panelled  and 
the  walls  of  the  dining-room  know,  indeed,  no  artificial  covering.  Every 
effect  is  accomplished  frankly  and  naturally.  There  is  not  anywhere  a 
vestige  of  affectation.  This  may  also  he  said  of  the  furnishings,  which,  in 
the  simplest  detail,  exhibit  the  same  sincere,  frank  understanding  of  the 
true  significance  of  the  beautiful  style  in  which  the  house  was  conceived. 


82 


IT  IS  A NEW  HOUSE  IN  AN  OLD  SETTING,  A SETTING  WHICH  IS  APPROPRIATE  AND  VERY  BEAUTIFUL 

The  old  maple  trees  on  the  southern  frontage  and  the  great  evergreens,  to  say  nothing  of  the  old  garden  with  its  converted  well- 
house,  its  readjusted  hedging,  its  winding  roadways,  its  meadowland,  look  all  the  better  for  this  skilful  addition  to  an  interesting  property 


LONG  ISLAND  HOME  OF  MR.  JOHN  A.  GARVER 


83 


Turn  again  to  the  bay  windows  noting  the  detail  of  the  construction, 
remembering  that  the  general  temper  and  disposition  of  the  time  is  revealed 
in  the  ornament,  and  that  the  inner  life  of  a people  is  disclosed  in  the  fur- 
nishing of  their  homes.  The  legs  and  stretchers  of  the  high-backed  chairs 
and  tables,  settees  and  low  stands  foi  plants  in  the  hall,  dining-room  and 
library  exhibit  an  intimate  connection  with  the  lathe  work  of  the  mitred 
corners  of  the  hay  windows.  This  same  relationship  is  sustained  between 
the  turned  balusters  of  the  staircase  and  the  balusters  of  the  covered  pass- 
ageway between  the  porte-cochere  and  hall.  So,  throughout  the  house,  the 
general  spirit  of  extreme  simplicity  dominates  both  the  ornamental  por- 
tion of  the  framework  and  of  the  furniture.  Much  of  this  restraint  is  char- 
acteristic of  the  Jacobean  days  when  the  Italian  motives  were  being  ab- 
sorbed by  the  English.  The  library  shows  a softer  treatment,  typified  in  its 
characteristic  chairs.  The  frames  are  covered  and  sometimes  upholstered. 
There  are  chairs  of  this  type  in  Holyrood  Palace  at  Edinburgh  and  in 
Cluny  Museum  at  Paris.  A fascinating  account  could  be  written  of  these 
high-backed  chairs  which  have  entered  so  largely  into  the  lives  of  the  most 
troubled  days  of  Central  Europe.  Their  moulded,  pierced  and  carved  stretch- 
ers, their  lightly  curved  arms  are  familiar  as  well  as  charming. 

It  is  not  enough  to  say  that  this  is  once  again  an  excursion  back  among 
the  by-ways  of  merry  England,  or  to  claim  for  it  a new  departure,  a new 
adventure;  rather  is  it  a new  assimilation,  a calm  and  deliberate  presenta- 
tion of  an  old  theme  with  a still  older  dress,  and  yet — and  this  in  a whisper, 
in  view  of  the  costuming  of  the  period — a dress  deliciously  free  from  con- 
sciousness. 

This  is  essentially  a country  house  and  will  he  so  remembered  by  visitors 
because  of  its  delightful  connection  with  the  garden  and  the  old  apple  or- 
chard, the  long  rose  walk  and  the  old  pump  house.  There  is  here  no  stately 
terrace  of  varying  levels  or  statuary  or  costly  fountains  or  active  water 
courses  diverted  in  set,  serious  ways  We  look  in  vain  for  carved  or  cut 
monstrosities,  wherein  nature’s  beautiful  bushes  and  trees  are  made  to  re- 
semble gargoyles,  imps  or  misshapen  urchins,  cubes  and  squares  and  globes 
of  crippled  foliage.  Instead,  there  is  a wonderful  meadow-land  ever  chang- 
ing, ever  beautiful,  ever  comforting,  which  is  big  in  idea,  wholesome  in  sen- 
timent and  good  to  live  with.  We  can  always  construct  an  Italian  garden ; 
we  can  subdivide,  cut  up  and  belittle  with  stone  and  plant  posies,  but  it 
is  difficult  to  find  a more  stimulating  setting  for  a homestead  of  this  type 
than  the  natural  meadow-land,  one  of  the  glories  of  our  America. 


A BROAD  PAVEMENT  LEADS  FROM  THE  HOUSE  TO  THE  SEA 


It  is  this  view  with  big  oak  and  chestnuts  which  makes  us  classify  the  house  as 


that  of  a painter 


84? 


Mr.  Charles  E.  Proctor’s  Home,  Great  Neck,  L.  I. 

Little  & Brown,  architects  of  alterations 

Illustrations  from  photographs  by  Julian  Buckly 


E are  to  be  congratulated  that  once  in  a while  a painter  or  a 
poet  builds  for  himself  a house.  He  builds  generally  as 
lie  pleases,  paying  hut  little  attention  to  the  usual.  No  one 
has  yet  been  able  to  devise  a means  whereby  a limit  can  he 
put  to  the  vain  imaginings  of  this  fascinating  personality 
and  hut  few  men  of  the  world  make  the  attempt.  This  is 
very  much  the  way  the  visitor  feels  who  is  so  fortunate  as  to  he  permit- 
ted a close  and  intimate  examination  of  the  country  property  of  Mr. 
Charles  E.  Proctor,  which  runs  down  so  close  to  the  water’s  edge  at  Great 
Neck,  L.  I.,  as  to  be  conspicuous  for  its  beauty  in  that  section  of  the  north- 
ern approach  to  the  metropolis  which  is  so  important.  Mr.  Proctor  is  a land- 
scape painter  of  such  prominence  that  he  might  well  enter  the  list  with 
those  who  make  painting  their  profession. 

The  house  is  one  of  those  well-arranged,  picturesque  places  of  cement 
and  stucco  that  concern  themselves  more  with  comfort  and  beauty  than  with 
architectural  style  or  period  of  any  description,  and  that  depend  for  their 
many  attractions  upon  the  unusual  or  skilful  manner  in  which  certain  plain, 
every-day  things  have  been  contrived  and  the  efficiency  of  an  attractive  set- 
ting. Shadowlane  has  something  more  than  the  usual  sunlight,  direct,  vivid, 
omnipresent.  On  the  edge  of  the  water  it  is  like  a poignant  and  absorbing 
little  drama,  for,  while  overlooking  the  sea  and  coming  so  closely  into  the 
sphere  of  that  capricious  charmer  as  to  receive  at  all  times  day  and  night  a 
wondrous  light,  radiating  and  transmitting  to  every  element  a bewitching 
and  unexpected  glamour,  it  still  shares  with  the  rest  of  the  landscape  the  di- 
rect sunlight.  All  important  is  the  lighting  of  a picture  or  a stage.  Here 
is  a canvas  on  a large  scale  with  footlights  that  enrich  the  shades,  soften 
the  shadows.  The  scene  is  very  beautiful.  The  visitor  instinctively  realizes 
that  it  is  as  a painter  that  the  owner  has  worked  conscientiously  with  the 
theme,  and  that  he  has  engaged  himself  so  industriously  that  everything 
entering  therein  shall  be  charged  with  some  peculiar  mission,  shall  be  inter- 
esting for  its  own  sake  or  because  of  its  intimate  association  with  some  other 
phase  of  the  larger  story. 


THE  MARBLE  BOWL  BORDERED  WITH  AGERATUM  IS  THE  ACCENT  OF  TERRACE 
This  little  annual  echoes  the  azure  sky  and  forms  an  interesting  encirclement  for  the  fountain 


86 


MR.  CHARLES  E.  PROCTOR’S  HOME,  GREAT  NECK,  L.  I. 


87 


It  pays  to  investigate  this  interesting  country  house  solution  of  a fas- 
cinating problem,  for  it  illustrates  in  so  many  ways  what  has  been  accom- 
lished  by  thoughtful  study  in  other  lands,  under  other  conditions.  The  pain- 
ter’s approach  to  the  problem  of  house  designing  varies  greatly  from 
the  system  of  study  adopted  by  the  architect.  The  painter  or  the  poet  re- 
sembles not  a little  the  writer  or  the  teller  of  a story  in  that  he  is  con- 
cerned most  of  all  in  the  production  of  something  which  is  beautiful,  in- 
teresting and  engaging.  In  a word,  lie  is  content  to  make  a hit  and  does  not 
burden  himself  much,  if  at  all,  with  such  inanimate  qualities  as  history 
and  archaeology.  Shadowlane  is  interesting  because  it  exhibits  the  prefer- 
ences peculiar  to  a painter.  That  is  the  house  has  been  studied  very  much 
as  a landscape  picture.  It  pays  to  investigate  it  in  detail,  for  it  shows  the 
skilful  way  in  which  advantage  has  been  taken  of  certain  structural 
methods  adopted  by  the  Orient  and  by  Spain,  methods  which  are  common  in 
northern  Italy,  but  which  have  been  ruthlessly  swept  aside  by  France  and 
were  rarely,  if  ever,  known  in  England. 

Examine,  if  you  will,  the  shaping  and  proportion  of  the  openings.  The 
one  problem  of  line  has  received  infinite  regard.  Look  at  the  eolonnading 
to  the  southern  loggia  and  at  the  depth  of  the  reveal,  the  splay  of  the  piers. 
There  is  a fulness  of  line  which  is  delightful.  This  quality  is  also  to  be 
seen  in  the  large  northern  window  to  the  studio,  in  the  upper  window  and 
pediment  which  accents  the  gable  at  the  northern  entrance,  at  the  arched 
entrance  to  the  gate  house,  and  elsewhere.  It  is  discernible  in  the  shaping 
of  the  minstrel’s  gallery  in  the  studio;  it  is  one  of  the  distinctive  characteris- 
tics of  the  steps  of  the  terrace  by  means  of  which  we  descend  to  the  garden. 
The  pathway  leading  from  the  bank  to  the  water’s  edge  is  curved,  the  long 
pergola  which  girths  a portion  of  the  sea  frontage  follows  a sweeping  line. 
The  boat  house  is  circular,  it  has  an  overhanging,  conical  roof.  It  is  by 
means  of  six  flat  arches  that  the  private  landing  conveys  the  visitor  to  the 
float. 

The  painter  evidently  is  a practical  believer  that  the  line  of  beauty  is 
not  that  which  runs  directly  between  two  fixed  points.  lie  evidently  be- 
lieves in  the  line  that  “counts”  as  in  the  color  which  harmonizes.  Too 
many  disregard  utterly  the  possibilities  of  line.  Again,  the  property  is  not 
cut  up  by  a deliberate  attempt  to  level  everything  off;  by  a series  of  terraces 
the  original  undulation  of  the  grounds  has  been  respected,  the  rootage  of  the 
old  trees  undisturbed.  In  a graceful  *vay  the  long  pavement  extending  from 
the  southern  front  slopes  gradually  to  the  edge  of  the  bank.  In  many 
other  places  has  the  harshness  of  the  straight  line  been  avoided.  The  para- 
pet walling  surrounding  the  entrance  court  curves  agreeably.  The  long 


THE  GARDEN  APPROACH  SHOWS  OCTAGON  TOWER  OF  ORIGINAL  HOUSE 
It  illustrates  the  dining  room  wing,  one  of  the  recent  and  most  serviceable  additions  to  the  property 


88 


MR.  CHARLES  E.  PROCTOR’S  HOME,  GREAT  NECK,  L.  I 


89 


lily  pool  lias  semicircular  ends.  A marble  bowl-shaped  fountain  accents 
the  center  of  the  garden  terrace,  and  so  it  goes. 

It  is  an  old  property  thickly  wooded  with  oak,  locust,  maple  and 
chestnut  trees.  Many  of  them  are  of  an  unusual  height,  very  sturdy  and 
majestic  in  appearance.  The  original  house  was  built  some  years  ago  and 
the  present  owner  has  added  to  it  an  easterly  and  a westerly  wing,  utiliz- 
ing to  advantage  the  original  portion  and  preserving  intact  the  two  octag- 
onal towers  with  their  pyramid  roofs,  and  developing  further  an  extended 
loggia  which  connects  them.  These  wings  have  an  important  bearing  upon 
the  general  composition  and  significance  of  the  place.  The  studio  wing, 
running  in  an  easterly  direction,  might  well  he  renamed  the  chapel,  so  ec- 
clesiastical is  it  in  design,  with  its  vaulted  rooting  and  vigorously  moulded 
Gothic  ribs  springing  gracefully  from  massive  piers,  its  exalted  mantel  over 
the  fireplace,  minstrel’s  gallery  and  great  organ  at  the  end,  and  flooring  of 
blue  and  brown  tile  curiously  interlaced.  In  proportion  and  measurement  it 
resembles  somewhat  the  guard  room  of  the  Hotel  de  Cluny,  now  one  of  the 
most  interesting  museums  in  the  old  section  of  Paris.  The  fireplace  is 
practically  a reproduction  of  the  one  so  prominent  in  the  great  hall  of  the 
Chateau  Langeais,  long  known  among  the  most  picturesque  and  attractive 
French  houses  which  mirror  themselves  in  the  waters  of  the  romantic  Loire. 
It  was  in  this  great  hall  that  the  “Duchess  of  the  wooden  shoes,”  a term  of 
endearment  applied  by  the  peasants  to  Anne  of  Brittany,  was  at  the  age 
of  eighteen  married  to  Charles  VIII  of  France. 

We  turn  naturally  to  the  organ  as  the  accent  of  the  house.  All*.  Proc- 
tor was  so  fortunate  as  to  discover  and  to  rescue  from  the  flotsam  and  jet- 
sam of  Barcelona  a richly  carved  and  decorated  reredos  belonging  to  an  al- 
tar long  forgotten,  which  he  has  incorporated  skilfully  into  the  ease  of  the 
organ  in  the  minstrel’s  gallery.  Here,  under  a canopy,  is  the  sacred  figure 
of  the  Madonna  and  Child.  The  canopy  and  niche  have  received  gold 
and  white,  and  that  form  of  rich,  low  color  which  tends  to  make  of  it  a ser- 
viceable background  for  the  figure.  Here  appears  a diaper  decoration  of 
strange  significance  and  considerable  brilliancy  in  places.  At  times  the 
gold  ornament  is  burnished,  again  it  is  luminous,  but  soft  in  tone.  The  fig- 
ures are  curiously  wrought  and  with  considerable  skill.  Rich  reds  of  the 
rose,  pink,  and  white  which  is  gray  with  age,  are  to  be  seen  upon  the  cos- 
tume of  the  Madonna.  From  one  of  the  minor  windows  at  certain  sea- 
sons of  the  year  the  setting  sun  by  a fantastic  reflection  seems  to  bestow 
an  evening  blessing.  All  this  forms  the  central  motif  of  the  organ  case. 
It  is  incorporated  in  and  forms  part  of  the  framing,  which  in  a correct  and 
academic  manner  comprises  a group  of  columns  in  two  orders  with  base 


¥M 


90 


THE  STUDIO  MIGHT  WELL  BE  RENAMED  THE  CHAPEL,  SO  ECCLESIASTICAL  IS  IT  IN  ITS  COMPOSITION 
After  all,  upon  the  structure  of  the  vaulting  does  the  quality  of  the  sound  often  depend,  and  here  the  organ  demands  classic  arches 


MR.  CHARLES  E.  PROCTOR’S  HOME,  GREAT  NECK,  L.  I. 


91 


entablature,  cornice  and  pediment  complete.  These  columns  enclose  two 
large,  upright  panels  and  in  the  upper  section  one  single  panel.  The  base 
is  further  enriched  by  three  paintings  which  run  horizontally  and  are  of  a 
smaller  scale  than  the  rest  of  the  composition.  The  columns  stand  free  and 
clear  and  the  entablature  is  broken,  coming  forward  so  as  to  receive  the  pro- 
jection of  the  abacus  and  cap.  The  columns  are  fluted  and  carved,  enriched 
with  parchment  color,  violet  and  apple  green.  It  is  this  form  of  decoration 
which  does  so  much  to  give  value  to  the  paintings  of  the  panels.  The  can- 
vas to  the  left  illustrates  Mary’s  visit  to  St.  Elizabeth,  “My  soul  doth  mag- 
nify the  Lord.”  The  canvas  to  the  right  illustrates  the  story  of  the  Nativ- 
ity; the  one  above,  the  topmost  canvas  of  the  composition,  presents  the  crown- 
ing of  the  Queen  Mother.  The  scenes  in  the  base  illustrate  the  Agony  of 
Gethsemane,  the  Scourging  and  the  Sorrowful  Way. 

We  recognize  in  this  rich  contribution  from  Barcelona,  the  capital  of 
a sea-girt  principality  of  Spain,  the  stimulating  use  of  white  and  gold  as  a 
decorative  note.  It  is  this  which  forces  into  prominence  the  splendid  pur- 
ple, the  emerald,  orange  and  flesh  tints,  the  translucent  greens,  pearl  tones 
and  violet.  There  still  lingers  about  the  sacred  figure  and  the  old  canvases 
an  air  of  mystery  and  charm  which  is  unmistakable  and  becoming  to  a deco- 
ration of  age  and  association.  Such  valuable  relics  usually  find  a place  in 
a museum  or  are  displayed  as  an  interesting  illustration  of  the  skill  and 
equipment  of  a painter  craftsman,  their  significance  slighted  or  ignored, 
their  message  forgotten.  The  home  is  so  much  warmer  and  more  human 
than  the  museum.  Those  who  assign  to  inanimate  objects  human  emotion 
might  well  be  forgiven  if  in  their  enthusiasm  they  claim  for  this  decora- 
tion a sense  of  gratitude  for  its  hearty  welcome  in  the  new  world.  Surely  to 
all  of  us  the  organ  is  a favored  instrument  of  intimate  appeal. 

This  interesting  chamber  will  also  be  remembered  for  its  gilded  and 
heavily  carved  pillars  which  formerly  supported  a baldachin  over  the  altar 
of  one  of  the  chapels  in  the  Basque  section  of  the  Pyrenees.  The  designer 
of  the  ornament  has  evidently  remembered  the  shepherd  of  this  fascinating 
locality.  This  is  to  be  seen  in  the  grapevine  movement  and  in  the  blossoms 
and  fruit  with  which  the  detail  is  enriched.  At  night  the  studio  is  illumi- 
nated by  sanctuary  lamps  and  Venetian  lanterns  suspended  high  overhead  to 
which  electric  light  has  been  added.  Here  also  are  candelabra  and  sedilia- 
like  chairs  from  Venice,  and  to  add  interest  to  some  remote  corner  occasion- 
ally a costly  piece  of  drapery  of  a delightful  tone  is  to  be  seen. 

The  study  of  the  decoration  of  the  breakfast-room  must  have  been  an 
agreeable  theme  to  the  painter.  It  has  been  altered  somewhat  from  the  orig- 
inal plan,  an  octagon,  and  is  to-day  practically  a circular  room,  thanks  to  the 


THE  FIREPLACE  RESEMBLES  ONE  IN  THE  GREAT  HALL  OF  CHATEAU  LANGE  A IS 
We  recognize  that  it  was  in  that  romantic  chateau  that  Charles  VIII  married  Anne  of  Brittany 


92 


MR.  CHARLES  E.  PROCTOR’S  HOME,  GREAT  NECK,  L.  I. 


93 


trellis  work  covering  the  wall.  This  unusual  accent  within  the  house  is  cut 
into  fantastic  shapes  and  is  painted  the  mignonette  green  of  the  French 
army  field  service.  Certain  ornament  is  brought  into  relief  by  cream  and 
white,  all  of  which  is  an  excellent  backing  for  the  marble  table  in  the  center 


THE  DETAIL  OF  THE  DINING  ROOM  DOORS  IS  UNUSUAL 

An  agreeable  contrast  of  texture  between  the  small  decoration  of 
the  panels  and  the  more  robust  treatment  of  ceiling,  side  wall  and  floor. 

Here  is  a bright  spot  of  rich  color  beautifully  toned  like  an  old  missal 

and  the  projecting  moulding  which  surrounds  the  fireplace  and  it  is  also  of 
service  to  the  vase  and  other  ornament  of  the  mantel.  Ferns  and  palms  look 
as  if  they  grew  here.  Trellis  work  radiates  towards  the  center  of  the  saucer- 
like dome  ceiling.  The  panel  openings  vary  in  outline.  The  piercing  is 
pleasing,  bringing  into  the  design  the  delicate  question  of  shadows  and  de- 
tached ornament.  It  is  all  very  light  and  graceful.  In  a whimsical  man- 


94 


Here  the  color  is  rich  and  the  lighting  direct,  bringing  into  prominence  the  extreme  delicacy  of  the  paintings.  The  antechamber  is 
an  opportunity,  a promise.  At  times  it  indicates,  truly,  the  taste  and  preference  of  the  owner;  it  is  often  tantalizing  and  satisfying 


MR.  CHARLES  E.  PROCTOR’S  HOME,  GREAT  NECK,  L.  I. 


95 


ner  the  panels  of  the  walling  have  false  perspective.  The  background  is  of 
stucco,  rough  in  texture,  silvery  gray  in  tone. 

It  is  through  the  long  hall  of  the  original  house  that  we  enter  the  din- 
ing-room in  the  westerly  wing,  either  by  means  of  its  independent  entrance 
from  the  terrace,  or  by  passing  through  the  breakfast-room.  Doubtless  the 
painter  had  in  mind  the  magnificence  of  some  of  the  mountain  houses  in  the 
northern  section  of  Italy  and  the  chateaux  of  the  Pyrenees  when  he  de- 
signed this  room.  There  is  a sense  of  grandeur  in  the  heavily-beamed  ceil- 
ing, the  moulded  and  carved  joints,  the  panelling  of  the  main  girders,  the 
splendid  fireplace  with  an  exalted  mantel  extending  well-nigh  to  the  ceiling, 
its  quaint  pavement  of  colored  tile,  its  long  benches  in  front  of  the  dining- 
table  and  its  falling  of  gray  stucco.  It  is  dark  and  rich  overhead  as  befits 
an  apartment  used  principally  after  sundown  and  depending  upon  artificial 
lighting.  The  doors  are  panelled  and  decorated  in  color.  By  an  interlacing 
arabesque  ornament  the  rails  and  panels  are  in  contrasting  shades  after  a 
fashion  prevalent  many  years  ago. 

The  trellis  form  of  decoration  is  notable  in  the  terrace,  for  it  gives  an 
excellent  opportunity  for  the  creepers  to  add  interest  to  the  wall  surface. 
We  must  not  forget  the  semicircular  awning  to  the  long  loggia.  The  sky- 
line has  been  improved  greatly  by  the  wise  use  of  dormers  which  vary  some- 
what in  their  outline.  Like  every  other  well-designed  country  house  with 
good,  liberal  wall  surface,  Shadowlane  will  shortly  be  diapered  in  places  by 
lichen  and  rusty  moss.  It  will  be  fringed  here  and  there  to  bring  into  con- 
trast the  weather  markings  and  the  bright  silica  particles  of  the  stucco.  This 
livery  of  nature  is  both  beautiful  and  serviceable. 

The  circular  pool  in  the  center  of  the  terrace  is  bordered  with  ageratum, 
a little  tropical  charmer  with  soft  plumy  head  and  tubular  flowers,  echoing 
the  cerulean  of  the  sky.  It  performs  a very  graceful  and  serviceable  office, 
blooming  all  summer  long.  It  was  named  by  the  Greeks  for  its  inability  to 
obtain  a great  age.  Midway  between  the  water  and  the  flagging  it  is  an 
agreeable  contrast  of  which  we  never  tire.  Bordering  the  foot  path  leading 
to  the  boat  house  is  a broad  bed  of  begonia  which  is  pink,  orange,  scarlet, 
deep  rose  and  red  lead  color.  This  jewel-like  blossom  of  a plant  now  so 
popular  was  named  by  Plunder  after  Michel  Begon  in  the  early  portion  of 
the  seventeenth  century  when  that  stimulating  administrator  of  the  French 
and  patron  of  the  scientists  was  living  at  Blois,  a short  distance  from  the 
Chateau  Langeais. 


THE  ENTRANCE  IS  UNUSUAL  AND  INTERESTING 
This  is  due  largely  to  the  construction  and  proportion  of  gable 


Mr.  H.  Carpenter’s  Home,  Lake  Geneva,  Wis. 

Howard  Shaw,  architect 

Illustrations  from  photographs  by  Henry  Fuermann 

Here  is  the  work  of  a modernist,  an  individualist,  a man  who,  while 
realizing  the  needs  of  the  day,  is  in  no  way  forgetful  of  tradition,  rev- 
erencing the  teaching  at  its  true  value.  In  other  words,  this  house 
recently  built  well  within  sight  of  Lake  Geneva  is  the  work  of  a man  who 
thinks  for  himself  in  matters  architectural.  It  is  to  be  seen  in  many  ways. 
The  pictures  before  us  give  some  of  the  story;  the  plan  reveals  more  inti- 
mately the  source  of  his  composition  and  the  practical  manner  in  which  he 
has  attacked  the  problem. 

The  library,  hall  and  dining  room — that  is,  the  three  big  things  of  the 
house — run  through,  having  a frontage  on  the  southern  terrace  as  well  as 

<JG 


MR.  H.  CARPENTER’S  HOME,  LAKE  GENEVA,  WIS. 


97 


on  the  northern  entrance.  Look,  for  instance,  at  the  treatment  of  the  en- 
trance, gable,  the  way  in  which  the  usual  pierced  barge  board  with  its  sharply 
pointed  peak  and  carved  finial  is  omitted  and  the  skilful  manner  in  which 
the  end  rafter  is  made  to  count,  curving  a little  so  as  to  soften  somewhat  the 
stiffness  of  the  outline.  Doubtless  the  rafter  is  doubled  and  so  made  suffi- 
ciently stout  to  permit  a chamfered  edge.  Very  acceptable  and  very 
unaffected  is  the  graceful  curve  the  gable  assumes.  The  sturdy  stone  but- 


II  .SPj 


THE  GENERAL  VIEW  IS  HERE  WELL  ILLUSTRATED  WITH  ITS  SETTING 
It  is  a house  of  many  attractions.  Note  buttresses,  overhanging  of  upper  floor  and  treatment  of  roof 


tresses  count  as  decoration.  They  are  also  of  service,  supporting  the  upper 
story  and  the  exalted  roof.  Incidentally  they  indicate  the  scale  of  the  li- 
brary, which  is  of  unusual  dimensions,  being  nearly  seventy  feet  in  length  and 
having  a width  of  more  than  thirty  feet.  It  opens  front  the  central  hall, 
which  includes  in  its  make-up  some  characteristics  of  the  early  monastic 
screen  of  the  medieval  period.  Great  attention  has  been  bestowed  upon  win- 
dow and  door  jambs,  which  splay  considerably;  the  wall  is  often  thickened 
out  in  a very  ingenious  fashion. 

In  a word,  the  scheme  as  a whole  is  one  more  illustration  of  the  fact 
that  it  pays  to  study  the  romantic  proportions  and  associations  of  medieval 
days,  and  that  architecture  is,  after  all,  the  judicious  treatment  of  openings. 


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98 


Lake  Forest  Home  of  Mr.  Hugh  J.  McBirney 

Howard  Shaw,  architect 

Illustrations  from  original  drawing  and  photographs  by  Henry  Fuermann 


THE  FRONT  ENTRANCE  WITH  UNUSUAL  GABLE 

There  is  much  originality  in  the  detail  of  overhanging  rafters 
and  purlins,  in  the  metal  hood  arching,  the  front  entrance  recall- 
ing the  cloister  within,  and  other  testimony  to  the  acceptance  of 
many  of  the  most  serviceable  ideas  of  the  modern  school 


FROM  the  very  instant  we  enter  we  feel  that  this  is  a house  of  sur- 
prises. And  that  is  saying  a great  deal,  when  we  remember  the  other 
interesting  homes  built  of  late  in  the  pleasing  suburb  of  that  tireless 
and  resourceful  industrial  center  which  we  crystallize  in  one  word — Chicago. 

The  home  of  Mr.  Hugh 
J.  McBirney  is  planned 
to  fit  one  of  the  open  sec- 
tions of  Lake  Forest, 
where  thick  copse  and 
wood  give  way  to  meadow 
land.  The  surprise  is  a 
long  vaulted  and  red-tiled 
gallery  or  cloister  con- 
necting the  front  entrance 
with  the  southwesterly 
frontage  on  the  far  side 
of  the  house.  The  vault 
is  of  stucco.  It  begins 
immediately  under  the 
entrance  gable  and  is  fur- 
ther accented  by  a semi- 
circular hood  and  is  as 
vigorous  in  texture  as  the 
outer  walling,  being 
frankly  a structural  as 
well  as  a decorative  fea- 
ture. This  very  unusual 
treatment  of  things  do- 
mestic adds  to  the  interior 
m u c h seriousness  and 
c h a r m , a picturesque 
quality  of  unexpected  in- 
terest to  the  casual  visitor. 


99 


100 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


It  is  known  technically  as  a barrel  vault  with  intersecting  penetrations,  and 
is  supported  by  well-built  piers  with  chamfered  corners.  Not  unlike  the 
medieval  days,  the  cloister  has  a small  aisle  also  vaulted,  giving  entrance 
to  the  main  stair  hall  and  doing  a host  of  things  to  make  the  homestead  a 

series  of  pictures  with  in- 
viting perspectives,  and 
shadows  that  bewilder  and 
invite. 

The  accompanying  sketch 
shows  by  means  of  letters 
the  position  of  the  cloister- 
like connection  between  the 
front  and  garden  entrances 
indicated  by  the  letter  A; 
B shows  the  living  room  and 
C the  room  set  apart  for  the 
family  dining ; D is  the  main 
stair  hall  and  E the  tele- 
phone closet;  F is  the  little 
liower  room  under  the  stairs 
complete  with  plumbing 
connections,  sink  and  special 
taps  for  filling  vases;  K is 
the  serving  pantry  directly 
opening  into  the  kitchen. 
The  plan  marks  by  dotted 
lines  the  treatment  of  the 
vaults  and  ceiling.  The  liv- 
ing room  will  be  remem- 
bered for  its  sturdiness. 

Into  the  hood  of  the  fire- 
place has  crept  much  of  the  vigor  of  the  cloister.  It  is  big  of  scale.  The 
interlacing  ribs  of  the  hood  are  interesting  in  many  ways.  Viewed  in  a cer- 
tain light  they  seem  to  suggest  a structural  motive,  and  yet  they  are  decora- 
tive in  idea.  The  manner  of  treating  the  door  and  window  openings  is  also 
original.  Dispensing  with  the  customary  architrave,  the  architect  has  here 
added  another  of  those  individual  schemes  of  his  which  are  very  gratifying. 
It  is  instructive  to  note  the  original  manner  in  which  the  chimneys  are 
treated.  Took,  for  instance,  at  the  chimney  which  takes  the  Hue  of  the  living- 


S KETCH  ED  DETAIL  OF  CENTER  OF  HOUSE 

The  drawing  gives  the  unusual  cloister-like  manner  of 
connecting  the  front  and  garden  entrances,  forming  also  an 
interesting  ending  to  the  living  room.  We  see  the  way  in 
which  the  main  and  rear  stairs  are  skilfully  contrived 


LAKE  FOREST  HOME  OF  MR.  HUGH  J.  McBIRNEY 


101 


room  fireplace  and  see  the  use  of  metal  in  the  hood  on  the  outside.  The 
accompanying  illustration  of  the  garden  view  shows  the  detail.  The  hood 
projects.  It  is  not  pierced,  but  impressed  with  good  vigorous  ornament. 
Metal  as  a decorative  element  is  decidedly  new  upon  this  continent.  The 
same  material  has  been  used  for  the  dormers.  Here  it  counts  as  cornice  and 
is  built  up  after  the  fashion 
of  a coronet.  It  appears 
very  prominently,  crowning 
the  sleeping  porch  over  the 


enclosed  court,  and  is  dis- 
tinctive because  of  this  bat- 
tlemented  upper  edge. 

Like  most  of  the  work 
from  the  same  distinguished 
office,  we  recognize  the 
sturdiness  of  the  composi- 
tion. It  is  distinctly  a 
man’s  conception  of  what 
a house  should  be,  and  a 
man’s  handling  of  material, 
of  outline  and  proportion. 
Provision  for  the  immediate 
future  and  welfare  of  plants 
and  a recognition  that  na- 
ture will  play  a part  by 
enriching  the  surface  of  the 
walling  are  shown.  The 
sunken  garden  with  its 
square  flower  beds,  placed 
diagonally,  separated  by 
stone  flagging,  its  apse-like 
termination  at  the  extreme 


HERE  IS  THE  HALL  FROM  GARDEN  ENTRANCE 

This  feature,  so  unusual  in  residences,  recalls  unmistak- 
ably the  cloister  of  the  abbey,  the  screen  of  the  manor  house. 
Fortunately  some  of  the  trowel  marks  remain  in  the  plaster 
work.  The  paving  is  of  large  Welsh  tiles  of  a rich  red 


end,  its  distinctive  porch  reached  by  means  of  steps  from  the  southern  court, 
its  broad  bordering  of  herbaceous  plants  and  its  view  make  a picture  of 
many  surprises.  This  checker-board  form  of  layout  is  unusual  and  has  many 
advantages,  not  only  because  it  permits  easy  access  to  flowers,  but  because 
it  invites  diagonal  vistas  of  blossoms  and  does  a host  of  things  which  lead  to 


their  daily  comfort.  Flowers  within  reach  is  one  of  the  demands  of  the  house- 
wife. There  is  a quaint  old-world  grace  about  the  flagging,  the  broad  open 
joints  of  which  invite  ferns,  stone  crop,  and  Alpine  plants. 


102 


THE  ENTRANCE  IS  A DEMARCATION,  A NEIGHBORLY  REMINDER  BEREFT  OF  ARCHITECTURAL  SIGNIFICANCE 


House  of  Mr.  G.  Howard  Clark,  Jr.,  Devon,  Pa. 

Charles  Barton  Keen,  architect 


HE  very  outline  of  this  place  breathes  antiquity.  In  many 
ways  it  is  a Georgian  house  of  the  type  adopted  when  the 
most  promising  and  successful  people  of  this  country  were 
beginning  to  build  houses  in  a workmanlike  and  satisfactory 
manner,  houses  which  were  to  be  permanent  and  lasting. 
Naturally  they  turned  to  the  later  Renaissance  of  England 
for  inspiration  and  to-day  we  are  to  he  congratulated  that  there  still  linger 
houses  of  this  comfortable,  satisfactory  type  for  which  the  Georgian  period 
was  famous.  It  is  a common-sense  style  with  abundance  of  character,  a style 
to  which  the  individual  note  can  readily  he  added  without  putting  the  whole 
composition  out  of  tune.  It  is  a broad  middle-class  type  of  architectural  ex- 
pression which  can  be  adjusted  to  any  site,  almost  to  any  purse.  The  City 
of  Brotherly  Love  and  its  neighborhood  made  of  this  period  an  expression, 
intimate,  characteristic,  wistful,  their  own — somewhat  unlike  the  treatment 
adopted  by  the  wealthy  of  the  Southern  States,  who  accepted  the  general 
scheme  of  things  as  contrived  by  the  early  architects.  We  see  this  at  Home- 
wood,  Whitehall  of  Maryland,  Hardwood  House,  Paca  and  Brice  Houses 
and  the  house  known  as  Woodlawn  of  Virginia.  And  the  inspiration  of  that 
early  work  is  to-day  very  vividly  before  us  in  the  House  of  the  Sisterhood  of 
Notre  Dame,  Maryland,  and  Carter’s  Grove  close  to  the  James  River.  The 
Philadelphia  interpretation  of  the  Georgian  is  in  a way  unique  not  only  in 
what  it  does  but  in  what  it  omits.  This  self-imposed  restraint  is  to  he  seen 
in  the  walls  of  their  houses  within  and  without,  everywhere.  Good  propor- 
tion takes  precedence  of  extravagant  themes,  which,  while  very  pleasing,  are 
soon  wearisome.  In  the  houses  of  the  lordly  cavalier  the  curved  line  and  ro- 
coco ornamentation  of  the  French  are  omnipresent,  and  while  the  Philadel- 
phian rejected  the  enrichment  he  gladly  accepted  the  general  plan,  which  he 
found  to  be  admirable.  He  preferred  the  Georgian  treatment  of  panelling 
and  arcading  as  more  robust,  more  wholesome,  he  called  it. 

It  is  said  that  when  the  charter  for  Pennsylvania  was  passed  for  signa- 
ture before  England’s  king,  the  question  of  name  was  still  unsettled.  Will- 
iam Penn  suggested  New  Wales;  another  Sylvania.  Seizing  his  quill,  the 
king  prefixed  the  syllable  “Penn”  in  honor  of  the  many  distinguished 


103 


]0i 


HOUSE  OF  MR.  C.  HOWARD  CLARK,  Jr.,  DEVON,  PA. 


105 


services  of  his  father,  the  Admiral.  To-day  the  name  “Pennsylvania” 
spells  the  immeasurable  quality — courtesy,  consideration,  modesty  and 
friendliness  to  the  world  and  brotherhood  to  mankind.  In  much  the  same 
way  has  the  refining  influence  of  his  strength  of  character  permeated  the 
architecture  of  that  favored  state.  The  spirit  is  still  to-day  active  in  its  pro- 
test against  extravagance  of  any  description,  its  graceful  plea  for  restraint 
against  superimposing  upon  our  daily  life  ornament  for  its  own  sake. 

The  house  of  Mr.  C.  Howard  Clark,  Jr.,  at  Devon,  Pa.,  is  long,  dis- 
tinctly serious  in  outline  and  proportion.  The  central  part  is  very  dignified. 
The  architect  has  taken  as  his  inspiration  the  Doric  order  and  of  it  he  lias 
made  good  use.  It  was  the  fashion  to  utilize  this  order  about  the  time  when 
William  Penn’s  prominence  was  first  noticeable  in  England  and  at  a time 
when  the  architects  were  building  some  very  important  public  buildings.  It 
is  the  work  of  John  Vardy,  Kent,  Gibbs  and  Ware,  making  admirable  use  of 
it  in  private  houses  which  endears  it  to  11s.  It  has  the  element  of  repose,  of 
great  respectability  and  wonderful  calm.  Incidentally  it  is  an  economical 
order  to  follow.  It  imposes  but  few  conditions  upon  the  designer,  but  what  it 
does  require  must  be  respected  and  obeyed.  I11  length  the  frontage  of  the 
Clark  house  exceeds  two  hundred  feet.  The  central  portion  husbands  the 
living-room,  hall  and  dining-room  with  some  minor  divisions.  Extending  on 
each  side,  connected  by  enclosed  corridors  which  are  treated  architecturally 
as  blank  arcades  are  two  prominent  and  serviceable  wings.  The  one  is  a 
loggia,  large,  windowed  on  three  sides,  open,  practically  an  outdoor  detached 
garden  house.  It  is  in  the  other  wing  that  the  kitchen  with  its  various 
rooms  is  to  be  found.  The  wings  and  the  connecting  corridor  have  rooms 
above.  The  roofing  is  interesting.  Into  it  lias  been  put  much  thought.  It 
is  accented  in  the  center  by  a Doric  pediment  and  supported  by  four  col- 
umns about  four  diameters  apart.  They  are  academic  in  their  outline  and 
correct.  Rustications  appear  at  the  corners,  and  through  the  middle,  run- 
ning belt-like  round  the  house  a broad,  projecting  band  appears.  It  is  a 
brick  house,  floated  with  white  stucco.  Of  course,  like  every  other  Phila- 
delphia house,  it  stands  upon  a base  of  local  stone.  The  threshold  is  stone, 
well  laid,  liberal  in  its  inches.  Practically  the  two  frontages  are  identical. 
Still,  in  the  garden  frontage  there  is  this  variation:  the  central  pediment 
comes  forward,  sheltering  the  porch.  Very  beautiful  is  this,  the  all-important 
accent  of  the  garden  front.  It  stands  upon  a terrace  of  noble  dimensions. 
It  has  a lawn  closely  trimmed,  surrounded  by  a low  parapet  walling  pierced 
at  prominent  places.  From  this  steps  lead  to  the  meadow.  Yes,  the  roofing 
has  been  admirably  contrived.  It  is  of  interlocking  dull-green  tile,  very 
beautiful  and  likely  to  become  more  so.  Look  at  the  chimneys.  They 


106 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


are  big,  well  balanced,  well  placed.  The  pyramid  roofing  of  the  wings  is 
distinctive  and  we  must  remember  this  is  a new  bouse,  a white  house,  and 
allow,  if  we  can,  for  the  rich  foliage  which  will  shortly  own  the  trellis,  form- 
ing a secondary  band  round  the  wings,  a hand  of  color  varying  in  its  draw- 
ing in  place  of  the  shadow  cast  by  the  hood  so  frequently  found  hereabouts. 


THE  ENTRANCE  IS  CROWNED  BY  A STATELY  PEDIMENT 

At  once  the  triumph  of  the  architect,  the  opportunity  of  the  host;  here  he  re- 
ceives his  guests  at  the  place  of  honor  on  the  northern  side  of  the  house 


Within,  the  house  reveals  the  plan  adopted  by  the  well-informed,  luxury- 
loving  Southerner.  It  opens  well.  It  is  welcoming  in  its  aspect.  The  hall 
runs  through  the  center  of  the  house  with  the  principal  rooms  on  each  side. 
The  living  room  is  nearly  fifty  feet  in  length  with  a breadth  of  about  one- 
half.  It  has  two  fireplaces.  It  is  splendidly  panelled.  By  the  way,  in  the 
cornice  of  the  hall  is  much  of  the  seriousness  of  the  Doric.  An  element  of 
repose  is  obvious  everywhere.  It  is  unmistakable.  It  extends  to  the  furni- 
ture, which  embraces  much  of  the  teaching  of  the  modern  school.  The  pre- 


HOUSE  OF  MR.  C.  HOWARD  CLARK,  Jr.,  DEVON,  PA. 


107 


vailing  color  tone  is  a rather  low  and  quiet  composition  of  warm  buff  and 
silver  grays  with  occasional  rose  and  gold  in  small  quantities.  A cool  gray- 
ish green  is  much  in  evidence.  Rugs  of  the  Orient  cover  all  the  floors; 
fumed  and  polished  oak  of  the  forest  the  walls  of  the  den.  The  risers  of 
the  staircase  are  floated  with  white  enamel  as  is  the  balustrading;  the  treads 
are  oak,  the  handrail  mahogany  and  the  walls  to  the  top  of  the  house  are 
enamel  which  is  pleasing  in  its  general  appearance. 

It  is  splendidly  wooded  hillside  property  and  the  native  trees  are  let 
alone.  At  one  time  chestnut  with  its  big  leaves,  its  robust  growth  domi- 
nated the  scene.  The  house  is  well  placed.  The  gardens  terrace  consider- 
ably up  at  one  end.  Meadow  land  extends  a long  way  in  front  of  the  grass 
terrace,  enjoying  the  sun  most  of  the  day.  The  original  level  of  the  ground 
has  been  preserved  intact.  This  is  one  of  the  distinguishing  features  of 
landscape  gardening  in  the  vicinity  of  Philadelphia  as  understood  and  prac- 
ticed in  England.  The  original  levels  are  respected.  There  is  but  little  ar- 
tificial cutting,  leveling,  terracing.  All  of  which  means  that  the  hillside  is 
not  disturbed  in  any  serious  manner.  It  is  subdivided,  hedged  in,  fenced 
around,  thoughtfully  planted,  but  the  general  contour  of  the  land  remains 
undisturbed.  All  of  this  helps  to  spell  neighborliness,  kindliness,  good  feel- 
ing. In  other  words,  there  is  no  hard  and  fast  harrier  which  relegates  to  it- 
self the  series  of  superior  platforms. 

In  all  this  we  have  another  illustration  of  the  potency  of  the  modern 
spirit  in  affairs  architectural,  the  cultivated  preference  for  one  good  thing 
at  a time,  which  differentiates  between  the  scholarly  and  appreciative  mind 
and  the  merely  fashionable  person.  It  exhibits  the  intimate  and  thorough 
study  of  the  property,  the  conscientious  labor  in  locating  the  accent.  It 
shows  also  the  influence  of  the  site  upon  the  general  scheme,  and  that  the 
architect  realized  the  most  desirable  locality  on  which  to  focus  his  strength. 


HERE  IS  A PLEASING  CONTRAST  BETWEEN  BAY  AND  HOOD  OF  ENTRANCE  PORCH 
It  is  by  a semicircular  drive  leading  from  the  main  road  that  the  front  door  is  reached 


Mr.  G.  A.  Coffin’s  Home,  Locust  Valley,  L.  I. 

Howard  Greenley,  architect 

Illustrations  from  photographs  by  Floyd  Baker 


IF  you  would  know  the  man  of  to-day,  study  his  house.  It  is  a rare  treat 
to  find  among  the  more  recent  properties  of  these  great  United  States 
an  encouraging  testimony  to  the  efficacy  of  the  broadening  outlook  of 
our  best  people.  The  country  house  of  Mr.  Charles  A.  Coffin,  from  its  very 


108 


MR.  C.  A.  COFFIN’S  HOME,  LOCUST  VALLEY,  L.  I. 


109 


inception,  belongs  to  Long  Island.  It  forms  a part  of  it.  It  is  not  like  a 
suburban  house  adrift,  or  a city  house  removed,  but  is  a house  designed  for 
this  section  of  the  country.  Not  only  is  it  built  of  local  materials  and  con- 
ceived to  suit  the  site,  the  family  and  the  pocketbook,  but  it  is  of  the  country 
and  evidently  proud  to  be  there.  In  many  ways  it  is  very  interesting.  It  lias 
a frontage  upon  the  main  highway  leading  from  Glen  Cove  to  Oyster  Bay 
and  is  well  within  view  of  the  new  Piping  Rock  development.  It  is  a richly 
wooded  property,  with  maple,  locust,  hickory,  wild  cherry  and  beech  trees. 
The  surface  of  the  ground  is  undulating  and  for  many  years  about  one- 
third  of  it  was  utilized  for  agricultural  purposes  and  the  rest  left  undis- 
turbed as  natural  woodland. 

In  locating  the  house,  advantage  has  been  taken  of  a knoll  which  rises 
a few  feet  above  the  ground  level,  arid  of  the  position  of  a large  hickory 
and  a wild  cherry  tree  and  subsidiary  planting.  It  has  also  permitted  the 
utilization  of  a splendid  view.  It  runs  east  and  west,  having  a prominent 
northern  and  southern  frontage.  The  extension  in  a westerly  direction  is 
encouraging  for  many  reasons.  It  has  an  impressive  and  an  inviting  per- 
spective, and,  thanks  to  a series  of  open  spaces,  terraced  and  enriched 
with  lawns,  with  broad  borders  of  flowers,  so  that  the  distance  is  made 
to  appear  as  a picture  within  a picture. 

The  house  is  some  two  hundred  feet  in  length.  It  might  lie  termed 
an  open-air  house,  a house  with  an  extremely  large  living-room,  with  many 
porches,  some  covered,  others  open,  and  casements  where  possible.  It  is 
evidently  the  house  of  a man  who  loves  the  great  out-of-doors  and  who  has 
determined  to  make  the  best  of  the  rural  charm,  the  abandon  of  the  woods. 
It  is  not  only  picturesque  in  outline  and  very  unusual,  but  also  serviceable. 
Within  and  without  the  general  keynote  is  white  with  a roofing  of  red  tile. 
There  is  not  about  it  anything  small  or  belittling  in  architectural  detail. 
Provision  has  been  made  for  creepers,  so  that  in  a short  while  the  whole 
frontage  will  be  covered  with  an  ever-varying  texture.  It  is  practically  fire- 
proof, and  is  an  all-the-year-round  house.  The  plan  provides  for  a den,  a 
writing-room,  a small  room  for  tbe  flowers,  a reception  room  and  the  rest 
of  it,  and,  of  course,  the  usual  service  quarters,  with  modern  luxuries  and 
necessities.  Tbe  interior  walls  are  just  as  strong  and  satisfactory  as  tbe  ex- 
terior. There  is  a certain  picturesque  abandon  about  tbe  composition 
which  is  tbe  natural  outcome  of  skilful  scheming. 

The  fortunate  visitor  will  always  remember  tbe  place  for  its  unusual 
attraction  in  the  woody  section,  far  removed  from  tbe  main  road.  Some 
of  this  is  so  wild  that  it  can  hardly  be  spoken  of  as  a garden,  yet  it  is  classed 
a wilderness.  Here  are  large  clumps  of  beech  trees,  under  the  shade 


AN  INTERESTING  STUDY  IN  PORCHES  AND  BAYS 

The  view  shows  something  of  the  roof  and  the  way  it  is  contrived  to  fit  the  unusual  plan.  It 
is  the  product  of  a resourceful  mind  which  has  found  profit  in  the  study  of  English  work 


of  which  a rich  diversified  order  has  been  systematically  worked  out.  In  cer- 
tain seasons  of  the  year  will  he  found  the  wild  honeysuckle  or  pink  azalea, 
the  fire-cracker  plant  whose  brilliant  vermilion  tubes  brighten  many  a dull 
shadow.  The  dutchman’s  breeches  with  dainty  heart-shape  blossoms  which 
hang  tremblingly  from  a slender  stem,  yellow  butter-and-egg,  touch-me- 
not,  and  the  butterfly  weed,  jewel-like  in  growing,  and  the  common  barberry, 
mountain  ash,  elder,  and  fringe  tree,  and,  of  course,  common,  everyday  su- 
mac, add  to  the  rich  pageant  of  glorious  color.  Here  upon  a raised  portion  of 
the  property  is  a bungalow,  a camp,  a woodshed,  a spring,  all  hidden  in  the 
natural  undergrowth,  the  high  bushes  and  the  low  trees.  The  planting  is  also 
interesting  in  its  use  of  berry-bearing  shrubs,  which  sing  their  little  song  in 
the  winter,  when  the  snow  is  upon  the  ground,  the  snow  forming  a back- 
ground for  the  berry.  It  is  this  type  of  thing,  this  method  of  humanizing 


110 


THE  LIVING  ROOM  IS  BIG  IN  IDEA,  WELL  LIGHTED,  BRIGHT  AND  CHEERY 

Being  well  placed,  it  is  the  natural  center  of  things  within  the  house.  It  opens  in  every  direction. 
It  is  well  supplied  with  dwarf  bookcases  so  that  the  books  are  well  within  reach 

the  property  by  the  thoughtful  and  free  use  of  color  and  planting  that  ap- 
peals to  the  visitor.  Would  that  it  were  contagious! 

Is  there  anything  more  engaging,  anything  which  makes  a more  exact- 
ing demand  upon  our  skill,  than  this  construction  of  suburban  homes,  which 
are  located  sufficiently  near  the  city  to  enjoy  its  conveniences  and  yet  suffi- 
ciently within  the  fascinating  center  of  country  privileges  to  enjoy  out- 
door sports  and  the  wild  abandon  of  the  open?  This  demand  upon  the 
architect  has  been  fearlessly  met  by  some  men  in  general  practice,  who  have 
succeeded  in  making  their  classic  mistress  ignore  to  a degree  her  irrevocable 
laws  so  that  our  architecture  is  more  warmly  human  and  very  much  more  sat- 
isfactory and  better  to  live  with,  conforming  better  with  our  ideas  of  the 
amount  of  money  the  citizen  is  justified  in  spending  for  his  home. 


Ill 


112 


Home  of  Mr.  Edward  G.  Hoyt,  near  Stamford,  Conn. 

Newman  & Harris,  architects 

Illustrations  from  photographs  hy  Wurts  Bros. 


T is  when  we  see  houses  like  the  one  recently  built  hy  Mr. 
Edward  C.  Hoyt  that  we  feel  encouraged  for  the  future  of 
American  homes.  It  is  distinctly  the  proper  and  obvious 
solution  of  the  problem  from  a broad  and  wholesome  stand- 
point. It  is  designed  after  a fashion  which  is  international, 
in  that  it  is  broad  and  vigorous  and  world-wide  in  idea,  and 
while  old  in  method  of  building,  and  of  well  tried  and  dependable  work- 
manship, it  is  new  also  in  its  skilful  use  of  cement,  of  hollow  tile  and  other 
up-to-date  materials.  It  is  well  planned,  well  roofed,  well  and  creditably 
detailed.  It  has  less  frivolous  ornament  than  any  house  of  its  size  that  has 
been  built  hereabouts  for  many  a year.  What  ornament  it  has  is  in  the 
right  place  and  is  the  natural  and  logical  outcome  of  a well  determined  and 
decorative  scheme,  so  that  in  many  ways  it  has  beauty  of  a reasonable  type. 
The  property  is  located  at  Noroton  Hill,  near  Stamford,  Conn.  It  is  set  so 
far  back  from  the  main  road,  the  Boston  turnpike,  as  to  he  somewhat  out 
of  sight.  The  view  from  the  long  westerly  terrace  opens  up  panoramically 
in  the  direction  of  Long  Island  Sound.  It  is  a splendid  picture.  There  is 
something  particularly  interesting  in  this  Tudor  manor  of  England  standing 
here  high  up  on  the  shore  of  an  American  sound,  in  full  enjoyment  of  pass- 
ing ships  of  every  description,  a picture  instructive  in  many  ways,  stimulat- 
ing, inspiring,  challenging. 

This  house  of  Mr.  Hoyt  is  typical  of  the  improved  and  the  reawakening 
sense  of  our  architects  and  of  our  property  owners.  Splendidly  does  it 
typify  the  kind  of  things  we  desire,  the  type  of  thing  for  which  we  are  pre- 
pared to  stand  and  of  which  we  are  justly  proud. 

The  house  is  built  of  brick,  floated  with  stucco.  The  windows  have 
dressings  of  limestone  of  which  the  fireplace  of  the  entrance  hall  is  also  built. 
This  material  is  also  used  for  the  door  jambs,  for  the  weathering  of  the  but- 
tresses, the  base  of  the  chimney  stacks,  and  for  the  coping  around  the  porte- 
cochere  entrance.  It  also  appears  as  a subsidiary  base  on  which  the  house 
stands  very  close  to  the  surface  of  the  ground.  The  house  is  roofed  and 
shingled  with  rived,  that  is  split,  shingles  of  cypress,  which  live  forever. 


113 


] 14 


THERE  LINGERS  IN  THE  DINING  ROOM  A SENSE  OF  OLD-WORLD  HOSPITALITY 

It  has  some  characteristics  of  an  American  interior.  It  welcomes  heartily  distinctive  details  of  Jacobean  days  with  its  breadth  and 
potency,  its  wonderful  color,  its  suggestive — we  may  well  say  historic — detail,  the  drawing  of  which  is  alive  with  quaint  traditions. 
This  is  not  confined  to  the  furniture.  It  extends  to  the  arching  of  the  fire  opening  and  wall  panelling,  the  floor  joists  and  beams 


115 


THE  HALL  IS  A SQUARE  ROOM,  BIG  IN  IDEA.  NOTE  THE  STONE  FIREPLACE  AND  THE  OAK  WAINSCOTING 

The  wainscoting  is  designed  to  conceal  the  entrances  to  the  adjoining  rooms,  a method  much  favored  in  older  civilizations,  getting 
away  from  the  more  ordinary  beamed  ceiling.  The  architect  has  contrived  to  add  interest  to  his  composition  by  suggesting  a form 
of  ornament  old  in  the  days  of  the  Crusaders,  the  central  motif  of  which  is  the  square  and  the  circle.  The  ribs  interlace  delightfully 


FACING  LONG  ISLAND  SOUND  IS  A WIDE  PAVEMENT  OF  RED  BRICK 
Picturesque  is  this  elevation  with  its  overhanging,  half-timbered  gabling  and  projecting  bays 


116 


HOME  OF  MR.  EDWARD  C.  HOYT,  NEAR  STAMFORD,  CONN.  117 


They  neither  disintegrate,  warp,  twist  nor  rot.  The  barge  boards  are  care- 
fully thought  out,  well  moulded,  sympathetically  cut  in  divers  curious  and 
interesting  ways. 

Within,  the  ceilings  are  of  interest,  carefully  moulded  with  ribs  that  take 
up  a somewhat  fantastic  outline;  that  of  the  hall  is  a graceful  evolution  of 
the  square,  set  diagonally  within  a circle,  an  ornamental  form  of  great  his- 
torical importance.  The  billiard  room  is  beamed  heavily  with  oak.  The  din- 
ing-room has  for  its  ceiling  enrichment  a running  ornament  on  the  under 
side  of  the  subsidiary  beams  which  appear  to  extend  the  length  of  the  room. 
This  Connecticut  dining-room  has  much  character,  not  confined  within  its 
own  walls,  but  beyond,  by  means  of  a subtle  introduction  of  casements:  the 
one  long  and  low,  the  other  tall,  permitting  a view  into  a hreakfast-room  be- 
yond, and  again  through  a casement  to  the  horizon  line,  wherein  the  early 
morning  sunlight  gladdens  the  breakfast-table.  The  breakfast-room  has  also 
an  open  porch  of  its  own,  a sort  of  early  morning  hiding  place  for  momen- 
tary concealment  or  a continued  siesta. 

The  suburban  district  of  New  York  has  witnessed  many  improvements 
of  late,  hut  not  anything  more  vital  than  the  method  recently  adopted  by 
architects  and  others  in  their  vigorous  handling  of  a complex  subject. 

The  up-to-date  method  of  attacking  the  problem  of  suburban  homes  in- 
vites much  which  is  not  usually  classified  under  the  dignified  head  of  Archi- 
tecture. After  an  engaging  and  somewhat  extended  flirtation  wherein  we 
have  sought  to  build  in  this  vicinity  copies  or  adaptations  of  houses  foreign 
to  our  soil,  we  have  decided  to  readjust  and  concern  ourselves  with  that  form 
of  building  which  fits  the  ground  near  our  city  and  which  brings  to  our 
hearths  the  rich  pictures  of  the  neighborhood.  We  are  just  a little  tired  of 
being  archaeologists,  copyists,  adapters.  This  has  led  to  a healthier  and  more 
worth-while  house,  of  which  this  is  a splendid  example.  For  it  lias  within 
itself  local  ideas  as  well  as  local  color  and  an  individuality  which  is  unmis- 
takable and  worthy. 


118 


VIEW  OF  ENTRANCE  TO  PROPERTY,  WITH  LODGE  AND  BRIDGE  SPANNING  THE  BROOK 

Our  photographers  have  the  happy  knack  of  selecting  a satisfactory  view.  Is  not  this  French  chateau  in  an  American  wood  an 
agreeable  surprise?  It  has  the  high-pitch  roof,  the  central  chimney  so  frequently  associated  with  the  country  house  of  France 


Mr.  Robert  S.  Brewster’s  Home,  Mt.  Kisco,  N.  Y. 

Delano  & Aldrich,  architects 

Illustrations  from  original  drawing  and  photographs  by  Harry  Coutant 


ES!  A chateau  from  the  land  of  ancient  courtesies  and 
courtly  manners,  the  mother  of  republics  and  of  graceful 
accomplishments,  in  the  very  heart  of  our  American  woods, 
and  quite  at  home  too,  thank  you,  and  looking  as  natural 
as  if  its  white  walls,  well-proportioned  windows  and  arch- 
ways, lofty  roof  lines  and  sparkling  fountains,  were  deep 
in  the  great  mysteries  of  the  majestic  Fontainebleau.  It  is  somewhat 
startling,  hut  very  delightful  to  find  within  the  hilly  section  of  Westches- 
ter County,  half  hidden  in  foliage,  a house  so  sedate  in  idea,  so  restrained 
in  outline,  so  free  from  extravagance  and  withal  so  wholesome  in  its  make- 
up. It  is  a country  home,  well  planned,  thoughtfully  contrived  and  ingeni- 
ously introduced  into  the  woodland  without  a heartless  cutting  away  of 
things,  a too  free  changing  of  levels,  or  the  adoption  of  some  big  engineer- 
ing scheme,  reducing  the  grounds  to  an  artificial  platform.  The  garden 
and  courts  have  been  laid  out  and  the  house  located  with  reference  to  the 
view.  The  outline  has  been  determined  in  form  somewhat  by  the  steep- 
ness of  the  hillside  of  which  they  are  a j^art,  so  acceptable  do  they  seem  to 
he  to  the  sympathetic  visitor.  In  a word,  Mr.  Robert  S.  Brewster’s  sum- 
mer home  at  Mt.  Kisco,  New  York,  conforms  to  its  site  and  fits  into  its 
surroundings.  The  house  is  well  studied  from  within,  it  fits  the  family  as 
well  as  the  site;  the  block  plan  reveals  the  general  layout.  The  rooms 
are  grouped  with  regard  to  the  compass  point,  and  in  a right-about-face 
manner  it  fronts  the  north,  makes  much  of  the  south  and  west,  and  rele- 
gates the  service  wing  to  the  eastern  section  with  its  yard,  for  even  here 
the  architects  have  not  forgotten  the  early  rising  of  the  sun  and  the  attrac- 
tion of  breakfasting  in  the  open,  just  as  that  luminary  rises  with  its  gorgeous 
benediction  upon  the  day,  for  a porch  is  shown  opening  from  the  dining 
and  breakfast  rooms  upon  the  grassy  court. 

The  problem  of  daylight  for  the  house  as  for  the  picture  is  funda- 
mental. The  citizen  of  to-day  assigns  to  the  already  heavily  burdened  archi- 
tect the  responsibility  of  so  arranging  the  rooms  that  they  are  well  lighted, 
— light  being  as  important  to  general  comfort  as  intercommunication. 


FROM  THE  LIBRARY  THE 
This  view  is  from  the  northern 


TEMPLE  OF  LOVE  IS  SEEN  ENSHRINED  IN  THE  WOOD 
court  marked  by  low  marble-capped  stone  walling,  notable  in  plan 


120 


MR.  ROBERT  S.  BREWSTER’S  HOME,  MT.  KISC'O,  N.  Y. 


121 


Yes;  the  plan  is  excellent,  and  is  an  important  tribute  to  the  ingenuity 
of  the  architects,  who  have  managed  to  keep  the  service  wing  out  of  sight; 
the  house,  as  it  were,  is  all  frontage,  or  all  presentable,  and  yet  the  work- 
ing portion  is  well  taken  care  of,  with  its  own  independent  yard.  A long 
gallery  conceals  the  service  wing  from  sight. 

It  is  flanked  by  archways  looking  into  the  rose 
garden  and  leading  into  the  central  hall.  The 
living-room  opens  upon  the  northern  view  of 
the  wood,  from  which  at  well  determined  places 
long,  narrow  alleyways  are  cut,  giving  inter- 
esting perspective  views  into  the  recesses  of 
the  foliage.  These  architectural  accents  are 
valuable  and  are  decoratively  acknowledged 
by  fountains  standing  upon  the  upper  terrace 
walling.  Water  plays  an  important  part  in 
this  scheme,  being  pumped  from  the  little 
brook  running  from  the  arched  entrance  of 
the  property  and  stored  in  large  tanks  at  the 
top  of  the  hill  well  behind  the  tall  trees  and 
equally  well  out  of  sight.  It  is  an  interesting 
element  of  the  picture  wherever  seen,  and  in 
some  adroit  fashion  it  is  pretty  well  on  view 
all  the  time.  There  are  seven  well-arranged 
fountains  and  one  tinjr  pool  in  the  lower  ellipti- 
cal sunken  court  around  which  we  pass  in 
going  to  the  far-away  portion  of  the  property 
deep  in  the  valley. 

The  block  plan  shows  by  letters:  A,  B, 

C and  D,  A indicating  the  upper  court  and 
D the  lower  wild  garden,  the  varying  im- 
portant points  which  differ  considerably  in 
level,  yet  which  are  connected  hy  marble  stair- 

wavs,  rustic  runways  or  vaulted  pergolas,  according  to  the  position  which 
seems  convenient  or  desirable,  and  so  subtle  is  the  descent  that  in  no  way  is 
the  varying  level  a matter  that  concerns  the  visitor.  lie  may  walk  from 
the  Temple  of  Love  enshrined  among  the  locusts,  cedars,  hemlocks  and 
pass  readily  into  the  upper  court  under  the  segmental  runway  to  the  main 
pergola,  entering  the  elliptical  garden,  again  descending  to  the  valley, 
scarcely  realizing  that  he  has  passed  many  feet  below  the  level  of  the  house. 

The  block  plan  shows  by  figures:  1 indicates  the  living  room,  2 the 


SKETCH  BLOCK  PLAN 

Outline  showing  house,  upper  and 
lower  courts,  with  fountains  and 
pergola,  connecting  runways  with  the 
staircases  leading  to  lower  garden 


122 


THE  WALLED  GARDEN,  ELLIPTICAL  IN  OUTLINE,  IS  CONNECTED  WITH  COURT  BY  PERGOLA 

The  enclosure  is  so  adjusted  that  the  visitor  to  the  valley  scarcely  realizes  that  he  is  descending  many  feet  below  the  level  of  the 
house.  We  are  thankful  to  see  some  one  extend  these  academic  proportions  into  the  native  woods  without  too  great  a sacrifice  of  the 
trees.  In  this  case  the  elliptical-shaped  enclosure  is  of  singular  interest.  It  will  become  a garden  of  surprises,  rich  in  its  pageant  of 
rare  color,  shining  like  a well-polished  jewel  in  a glorious  setting.  Note  the  flight  of  stone  steps  by  which  the  valley  is  reached 


MR.  ROBERT  S.  BREWSTER’S  HOME,  MT.  KISCO,  N.  Y. 


123 


library,  3 the  dining-room,  4 the  central  hall,  5 the  servants’  wing  with 
its  kitchen,  pantries,  servants’  hall  and  rear  staircase.  The  entrance  is  from 
the  court  lettered  B.  Here  carriages  can  arrive  and  depart  comfortably, 
ample  room  and  privacy  for  the  court  being  well  preserved.  It  is  all  part 
of  the  general  scheme  of  things,  so  is  the  sunken  court  enclosing  the  lower 
garden  which  diverges  somewhat  from  the  center  of  the  house  axe  in  its 
wise  adjustment  of  the  site.  The  garden  is  sympathetically  divided  into 
flower  beds  and  borders,  occasionally  dry  walling  appears  with  pockets  for 
creepers  and  plants  and  for  things  that  interlace  generally  and  promise  to 
be  of  great  interest  when  more  fully  grown.  The  walling  of  this  and  other 
parts  of  the  property  is  constructed  of  stone  quarried  on  the  site  and  full  of 
metallic  deposit,  varying  greatly  in  its  color  and  texture. 

It  goes  without  saying  that  this  is  the  way  of  men  who  have  refused 
to  yield  to  the  imprisonment  of  historic  styles  as  such,  because  of  the  many 
phases  false  to  our  ideals  of  civilization  and  to  our  understanding  of  true 
beauty,  expressed  in  the  word  service  to  that  which  is  best  and  most  inspir- 
ing in  our  nature,  and  who  have  found  pleasure  in  devoting  days  to  the 
labor  of  so  grasping  the  opportunities  and  limitations  of  this  particular 
site,  family  and  occasion  as  to  manipulate  something  not  only  free  from  af- 
fectation, but  which  shows  they  have  struggled  manfully  with  the  problem 
from  the  ground  up  rather  than  from  the  drawing-office  down.  In  other- 
words,  they  not  only  accepted,  but  glorified,  in  the  responsibilities  and  limi- 
tations. There  is  a wholesomeness  and  strenousity  about  everything,  a 
consistency,  a rhythm  that  is  acceptable. 


124 


A TWENTIETH  CENTURY  GARDEN  HOUSE,  AN  UNUSUALLY  ATTRACTIVE  SETTING  FOR  ENTERTAINMENTS 
What  a scene  for  a masque,  for  the  presentation  of  a midsummer  pageant!  The  stage  is  set  and  increasing  in  beauty  every  season 


Mr.  T.  H.  Kerr’s  Home,  White  Plains,  N.  Y. 

Albro  & Lindeberg,  architects 

Illustrations  from  original  drawing  and  photographs  by  Julian  Buckly  and  others 


S everyone  knows,  some  houses  have  the  advantage  of  a splen- 
did setting  thrust  upon  them,  others  depend  for  their  inter- 
est upon  the  resources  of  the  architect.  Remembering  this 
and  realizing  that  the  practical  value  of  professional  service 
is  one  of  the  vital  topics  of  human  interest  and  discussion, 
applying  to  architect  as  it  does  to  lawyer  and  physician 
wherein  results  tell,  it  is  entertaining  to  examine  the  house  recently  built 
at  White  Plains,  New  York,  for  Mr.  Thomas  H.  Kerr.  Here  the  archi- 
tect has  had  to  make  his  own  site,  his  own  background,  bringing  to  bear  his 
own  personality.  There  are  a few  handsome  trees  upon  the  property  but 
no  particular  view  in  any  direction.  Credit  is  due  to  the  bold,  vigorous  way 
in  which  the  scheme  has  been  so  contrived  as  to  make  the  best  of  the  slop- 
ing meadow  land.  It  is  a small  property  of  some  eight  or  ten  acres;  still, 
hv  keeping  the  house  well  up,  by  staging  it,  so  to  speak,  it  has  become 
interesting.  This  is  one  of  the  occasions  where  it  pays  to  study  the  site  from 
an  academic  outlook,  and  where  the  architect  has  certainly  succeeded  in 
becoming  so  imbued  with  the  subject,  with  its  numerous  and  engaging  rami- 
fications, as  to  design  a house  which  is  not  only  imposing  but  comfortable 
and  good  to  look  upon.  The  views  give  something  of  the  story,  hut  neither 
the  color  nor  perfume,  still  less  the  brilliant  sparkle  of  the  sun.  Without 
an  equally  conscientious  study  of  the  planting  scheme,  the  utilization  of  cer- 
tain well-known  shrubbery  and  the  assignment  of  common  everyday  bricks 
to  a prominent  place;  without  the  well-contrived  terracing,  parapet  wall  and 
approach,  and  without  the  lily  pool,  the  house  pure  and  simple  would  have 
been  just  one  of  those  good-looking  hut  somewhat  ordinary  buildings. 
But  this  house,  the  staging  of  which  is  so  skilfully  foiled  and  so  decorative, 
so  led  up  to  by  plants  and  flowers,  has  become  an  engaging  picture.  Into 
the  composition  has  crept  the  delicate  quality  of  romance  and  a still  further 
promise  of  charm  in  the  near  future.  The  terrace  garden  is  full  of  color,  a 
fragrant  potpourri  of  fancies  and  frivolities,  of  water  lilies  and  pink 
oleanders,  movement  and  reflections,  recalling  classic  days  and  haunts  of 
the  fairies  and  wood  nymphs  when  examined  in  the  twilight.  This  goes 


125 


IVY-BORDERED  POOL  WITH  LILIES,  OLEANDERS  AND  BAY  TREES 
The  reflection  of  the  colonnaded  porch  at  each  end  of  the  terrace  recalls  classic  days  and  dryads 

126 


MR.  T.  H.  KERR’S  HOME,  WHITE  PLAINS,  N.  Y. 


127 


admirably  with  the  round-topped  elms,  bottle-green  chestnuts,  stately  pine 
and  maple  trees  bordering  one  side  of  the  property,  casting  a shadow  upon 
the  roadway. 

In  many  ways  it  is  an  up-to-date,  sober  house  with  modern  conve- 
niences, modern  characteristics  and  luxuries;  and  yet,  strange  to  say,  we  are 
attracted  most  of  all  as  far  as  the  exterior  goes  to  that  form  or  proportion 


THE  HOODED  ENTRANCE  HAS  ITS  OWN  GABLE 

Cedars  and  box  bushes  dank  the  doorway,  and  as  the 
picture  shows,  we  get  a framing  of  oak  trees 


of  both  ornament  and  construction  which  are  well  nigh  prehistoric.  The 
loggias  at  each  end  were  old  in  spirit  in  the  days  of  the  graceful  and  critical 
Athenian.  The  ivy-laden  trellis  arching  the  entrance  to  the  long  living- 
room  at  White  Plains  reminds  us  once  again  of  the  agreeable  manner  of 
accenting  with  vines,  laurel  wreaths  and  palm  branches  the  doorways  to 
the  dwelling  place  and  temple  in  classic  times.  The  painted  treillage  screen 
lattice-work  invites  the  free  use  of  crimson  ramblers,  wistaria  and  other 
creepers  of  our  time,  such  as  the  domestic  grapevine  and  the  wonderful 


A 


THIS  SKETCH  DISCLOSES  THE  GENERAL  ARRANGEMENT  OF  THINGS 
It  also  gives  an  insight  into  the  arrangement  of  rooms  on  the  ground  door  and  door  above 


128 


MR.  T.  H.  KERR’S  HOME,  WHITE  PLAINS,  N.  Y. 


129 


euonymus.  Ivy  also  borders  the  water  garden  with  its  iris,  and  lilies  of 
delicate  shades  blooming  only  at  night,  when  it  appears  as  a dim  garland 
mirror  diapered  with  stars  and  fireflies. 

Although  to  all  intents  and  purposes  the  central  hall  with  the  library 
and  dining-room  is  one  long  chamber,  so  far  as  the  decoration  is  concerned, 
they  each  have  a separate  treatment.  Heavily  panelled  is  the  ceiling  to 
the  central  hall.  The  fireplace  is  of  Istrian  marble  of  stately  proportion. 
Here  also  is  a practical  testimony  to  the  industry  of  the  cabinet  workers 
of  the  Renaissance  of  Italy.  Mr.  Kerr  has  been  so  fortunate  as  to  secure 
from  various  sources  furniture  which  might  well  be  added  to  the  national 
collection.  Some  of  the  chairs  are  remarkable,  not  alone  because  of  the 
oddity  of  their  shape,  the  delicacy  of  their  carving,  but  for  their  associa- 
tion. It  is  not  often  that  chairs  intended  for  the  gondola,  so  constructed 
that  they  give  satisfactory  support,  are  found  in  a country  house.  Here 
also  are  high-backed  settees,  cabinets  that  may  one  day  have  held  within 
their  secret  drawers  documents  of  great  value.  The  dining-room  is  of  the 
style  of  one  of  those  eighteenth  century  excursions  into  classic  decora- 
tion of  which  so  much  was  said  in  the  early  days  of  George  III,  and  which 
is  once  again,  and  this  time  in  America,  receiving  considerable  attention. 
The  wall  panelling  and  ceiling  ornamentation  are  like  those  adopted  in  the 
Adelphi  region  of  London  from  the  designs  of  Robert  Adam,  the  Scottish 
architect.  This  enterprising  enthusiast  succeeded  in  recomposing  some  of 
the  sterner  forms  of  classic  adornment  so  that  they  became  available  to 
modern  usage.  The  dining-room  at  White  Plains  is  an  excellent  illustra- 
tion of  the  method  of  procedure.  Upon  a ground  of  light  gray,  rosettes  and 
garlands  of  white  appear  at  set  intervals,  in  much  the  same  manner  as  that 
adopted  by  Wedgwood,  the  sculptor  and  ceramist.  The  moulding  and 
arabesque  ornament  is  low  in  relief,  cameo  fashion,  very  delicate  in  drawing 
and  exceedingly  refined  in  idea.  To  the  panelling,  which  is  always  broad, 
preserving  large  surfaces,  is  added  an  occasional  pastoral  or  dancing  scene, 
a classic  subject  treated  in  a classic  way,  winsome  and  capricious  at  times. 
A figure  subject  of  this  description  accents  the  panelling  over  the  door  and 
window  head.  It  also  appears  as  a center  to  the  ceiling.  The  room  is  fur- 
nished with  mahogany,  rich  and  dark,  and  has  also  among  other  attractive 
bric-a-brac  some  fine  pieces  of  Sheffield  plate,  tall  and  slender  candlesticks, 
and  a convex  mirror  which  reflects  amusingly. 


130 


The  Home  of  Mr.  Clayton  S.  Cooper,  Fieldston,  N.  Y. 

Albro  & Lindeberg,  architects 


Illustration  from  photograph  by  Harry  Coutant 


N all  parts  of  the  world  there  is  a charm  about  a small  house 
by  the  wayside.  There  is  mystery  in  it,  a secret  as  to  the 
farther  side,  particularly  when  it  is  so  placed  that  the  sun 
resides  there  the  greater  part  of  every  glorious  day.  These 
houses  are  usually  found  in  the  suburbs,  where  the  ground 
is  measured  by  the  foot,  dominated  by  the  building  line  and 
rural  district  regulations  and  yet,  thank  Apollo,  we  can  do  as  we  like  at 
the  back.  Yes,  we  can  plant  flower  borders,  or  have  a big  wide  open  lawn, 
more  or  less  sheltered  by  trees  and  enjoy  privacy  at  the  back. 

This  is  very  much  the  way  we  feel  when  we  look  at  the  small  property 
in  the  vicinity  of  Van  Cortlandt  Park,  recently  built  by  Mr.  Clayton  Cooper. 
It  is  just  one  of  those  captivating  places  an  architect  loves  to  sketch 
in  the  margin  of  his  drawing  board  or  the  real  estate  man  pictures  through 
the  smoke  of  his  cigar,  as  a place  he  would  love  to  own  for  himself.  It  is 
large  enough  for  a reasonable  family,  it  is  convenient  enough  for  anyone  in 
all  conscience.  The  entrance  is  in  an  inconspicuous  place.  Entering  in  a 
small  but  well-shaped  hall,  after  descending  a few  steps  from  the  roadway, 
we  descend  further  into  the  living-room,  which  occupies  the  end  of  the  house, 
and  walk  out  upon  the  loggia  from  which  we  view  a long,  enclosed  garden, 
where  in  the  open  we  can  read  Dostoyevsky.  Further  steps  down  take  us 
to  the  room  assigned  to  the  royal  game  of  billiards,  immediately  under  the 
living-room.  The  service  quarter  is  worked  out  well  with  its  own  stairway 
and  bathroom  for  maid.  A long,  four-lighted  window  illumines  the  kitchen 
on  one  side,  a three-lighted  one  on  the  other.  Of  course,  the  living-room  has 
a splendid  accommodation  for  books  along  the  north  wall.  The  end  of  the 
house  has  a small  garage.  The  words:  comfort,  convenience,  picturesque- 
ness, independence,  can  well  he  used  in  describing  the  place  which  does  so 
much  to  cultivate  an  ingratiating  affability,  needed  by  all,  and  the  ex- 
quisite sense  of  privacy  essential  to  a writer.  This  happens  to  be  the  home 
of  a writer.  It  is  just  the  place  for  delineating  character,  inventing  subtle, 
living  and  convincing  phrases,  transmitting  them  to  a world  which  at  times 
has  been  known  to  be  human,  or  sufficiently  human  to  show  appreciation. 


131 


132 


THE  LAKE  FRONTAGE  WILL  APPEAL  TO  THE  LOVER  OF  BIG  SCHEMES  BECAUSE  OF  ITS  MAJESTY 
It  has  the  stately  outline  of  the  National  Capitol,  with  its  terraces  and  lake  approach  contrasting  splendidly  with  the  rich  settin: 


Home  of  Mr.  W.  G.  Mather,  Cleveland,  O. 

Charles  A.  Platt,  architect 

ill  ustrations  from  original  drawings  and  photographs  by  Julian  Buckly 


WINN,  the  estate  of  Mr.  William  G.  Mather  of  Cleveland, 
is  an  interesting  treatment  of  a lake  frontage.  In  many 
ways  it  varies  greatly  from  the  neighboring  lakeside  prop- 
erties, which,  although  they  are  very  picturesque,  standing 
back  from  the  water  some  considerable  distance,  surrounded 
by  gardens  and  terraces,  and  having  a certain  connection 
with  the  lake,  vary  but  little  from  good-looking  homes  in  other  sections  of 
the  country.  In  a word,  they  too  often  miss  a golden  oportunity.  Gwinn 
is  literally  upon  the  lake,  some  twenty-eight  feet  above  the  surface  of  the 
water,  and  so  close  to  the  edge  of  the  bank  as  to  be  a part  of  it.  Enthroned 
among  the  venerable  elms,  the  house  owes  much  to  Cake  Erie  and  the  reflec- 
tion nearby  humanizes  delightfully  the  edge  of  the  water.  It  is  but  a small 
property,  some  five  acres  in  extent,  yet  the  frontage  has  been  so  contrived 
as  to  make  the  most  of  the  occasion.  Doubtless  the  Lake,  driven  by  fierce 
winds,  constantly  eating  into  the  bank  suggested  somewhat  the  crescent- 
1 ike  shaping  of  the  new  breakwater,  which,  after  the  practical  method  of 
our  time,  has  been  constructed  solidly  of  concrete,  superimposed  in  places 
and  liberally  battered  in  front.  This  keeping  of  the  building  as  close  to 
the  water  as  possible  permits  an  intimate  association  with  the  great  open 
area,  and  increases  the  apparent  height  and  dramatic  appearance  of  the 
house,  which  seems  to  find  its  foundations  on  the  lake  itself.  The  majesty 
of  the  front  is  increased  by  the  height  of  the  bank.  The  venerable  elms, 
many  of  them  a century  old,  the  maple  and  oak  make  an  admirable  set- 
ting. A portion  of  the  crescent-shaped  breakwater  has  been  so  thickly 
planted  as  to  add  to  the  brilliant  light  the  delicate  tone  of  green  and  so 
offset  the  glare,  inseparable  from  a prominent  position  near  the  water. 

The  accompanying  sketch  of  the  original  condition  of  the  shore  front 
shows  the  grove  of  trees  upon  the  easterly  side,  the  general  character  of  the 
layout,  the  ragged  water  edge  and  the  irregular  bank,  the  diversified  nature 
of  the  woods,  the  westerly  boundary  of  Lombardy  poplars.  The  central 
line  indicates  the  position  of  the  house.  The  woods  are  very  beautiful. 
Occasionally  a birch,  sycamore  or  black  walnut  tree  adds  richness.  The  out- 


1 33 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


134 


line  is  determined  by  the  lofty  elm  trees.  Those  at  the  outer  edge  of  the 
bank  have  evidently  received  for  many  years  the  full  force  of  the  wind, 
being  gaunt  in  limb  and  stripped  of  foliage.  Such,  in  brief,  was  the  condi- 
tion of  the  property  when  the  architect  formulated  his  plan  for  the  improve- 
ment of  things. 

If  the  lake  frontage  appeals  to  the  lover  of  big  schemes  because  of  its 

majesty,  its  immense  scale,  the 
noble  order  of  its  semicircular 
portico  and  exedra-like  exten- 
sion of  the  lower  terrace  and 
approach,  due  not  a little  to  the 
original  setting  and  the  relation 
between  the  house,  the  hank  and 
the  lake,  so  does  the  southern  or 
garden  side  of  the  house  appeal 
to  the  lover  of  flowers,  of  sun- 
shine, of  shelter.  Here  the  scale 
is  different,  more  human;  and, 
thanks  to  the  general  arrange- 
ment of  everything,  to  the  na- 
ture of  the  heavy  foliage  upon 
the  westerly  exposure,  the  gar- 
den is  sheltered  from  the  pre- 
vailing winds,  and  yet  in  full 
enjoyment  of  the  sunshine. 

The  second  sketch  plan  show- 
ing the  property  as  developed 
by  Mr.  Platt  discloses  graphi- 
cally the  entrance  driveway 
leading  towards  the  circular 
court  at  the  westerly  end  of  the 
house.  The  service  drive  leads 
from  the  boulevard.  The  south- 
ern frontage  is  therefore  free,  open  to  the  long  lawn  bordered  by  English 
elms  which  are  very  stocky  in  outline  with  a crown  that  is  compact  and 
a leafage  that  holds  its  color  late  into  October.  This  avenue  of  stately 
elms  is  very  beautiful.  It  was  possibly  due  to  this  that  Mr.  Mather  ac- 
quired later  considerable  property  upon  the  far  side  of  the  public  highway, 
where  he  located  the  servants’  quarters,  stable,  and  the  rest  of  it,  and  where 
the  long  vista  opened  through  the  newly  planted  parkway  beyond.  This 


The  ragged  water 
The  central  line  shows  the  inidde  of  the  house.  Few 
of  the  trees  have  had  to  be  sacrificed,  which  is  fortunate 


HOME  OF  MR.  W.  G.  MATHER,  CLEVELAND,  0. 


1 3£ 


view  is  enjoyed  greatly  from  the  library  windows  indicated  on  the  plan  by 
the  letter  B.  The  principal  rooms  are  noted  as  follows:  C marks  the  inner 
hall  and  1)  the  dining-room,  which  connects  with  E,  the  morning  room.  G 
shows  the  position  of  the  reception  room  to  the  left  of  the  entrance,  and  F of 
the  withdrawing  room  to  the  right.  A accents  the  semicircular  portico  from 
which  the  great  panorama  of  the  lake  opens  up.  The  main  arbor  in  the 
garden  is  designated  by  the 
letter  I,  and  the  long  pergola 
is  marked  K.  The  plan  shows 
the  flower  beds,  their  relative 
size,  and  the  place  where  the 
fountains  appear,  the  tennis 
court  and  the  greenhouses  and 
cottage  for  the  gardeners. 

The  large  octagonal  foun- 
tain in  the  center  of  the  garden 
is  presided  over  by  a graceful 
figure  of  bronze  from  the  fa- 


mous Goddess  of  Fortune  at 
Fano,  an  ancient  walled  town 
on  the  projecting  spur  of  the 
Apennines,  between  Ancona 
and  Ravenna.  This  graceful 
tribute  to  the  skill  of  the  sculp- 
tor of  the  Renaissance  of  Italy 
looks  very  much  at  home  in 
the  New  Republic,  fitting  the 
garden  admirably,  finding  no 
little  sympathy  with  the  lordly 
elms  and  the  carefully  ar- 
ranged palette  of  colors  at  her 
feet.  Like  the  house,  she  also 
faces  the  lake.  There  is  an- 
other fountain  in  the  grove  on  the  same  axial  line,  somewhat  concealed  by 
the  big  shadows.  It  marks  the  crossing  of  the  paths  and  is  a little  winsome 
artificiality  among  the  venerable  oaks.  Very  refreshing  is  this  bubbling  over 
of  the  stream  imprisoned  momentarily  by  the  dolphins.  A third  fountain  is 
the  one  which  accents  the  landing  upon  the  upper  terrace,  of  which  the  little 
bronze  bov  is  the  central  figure.  This  amorino  is  full  of  life.  It  illustrates 


PROPERTY  AS  DEVELOPED  BY  MU.  PLATT 

Here  is  the  new  lake  frontage  with  terrace  approach 
and  the  long  elm-shaded  lawn  which  centers  the  scheme. 
To  the  right  the  original  grove  remains  intact 


the  delight  a child  feels  in  grasping  a living 


creature  that  resists  embrace. 


13G 


FROM  DRIVEWAY  WE  GET  A PLEASING  PICTURE  OF  THE  EASTERLY  FRONTAGE 
Pedimented  portico,  entablature  and  cornice  have  much  of  the  quiet  dignity  of  the  stately  Ionic  order 


The  Home  of  the  Rev.  J.  Hutcheson,  Warren,  R.  I. 

Charles  A.  Platt,  architect 

III  ustrations  from  original  drawings  and  photographs  by  August  Patzig 


THE  visitor  to  Villasera,  the  home  of  the  Rev.  Joseph  Hutcheson,  will 
admit  freely  that  the  orchard  is  the  center  of  attraction.  There  is  said 
to  be  a leading  spirit,  a controlling  idea,  in  every  worth-while  scheme. 
In  this  Rhode  Island  property,  in  the  suburbs  of  Warren,  overlooking  Nar- 
ragansett  Bay,  the  most  prominent  and  most  beautiful  thing  about  the  place 
is  certainly  the  orchard,  or,  as  it  has  been  deservedly  rechristened,  in  respect 
to  its  rich  glow  of  color,  the  walled  garden. 

It  was  early  summer  when  first  the  architect  examined  the  little  estate. 
The  apples  were  just  forming.  The  place  was  very  wild.  The  house,  such  as 
it  was,  fronted  the  main  street,  turning  much  of  its  back  toward  the  Bay. 
It  was  approached  by  a rough  roadway  leading  to  the  outbuildings  and 
after  a while  to  the  shore  front.  Glance  at  the  plan  of  the  property  in  its 
original  condition  and  you  will  see  how  it  all  looked,  and  you  will  note  the 
fence  line  interspersed  with  bushes  and  small  trees,  the  splendid  old  orchard, 


137 


138 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


rather  crowded  perhaps,  but  still  vigorous  in  spite  of  its  years,  picturesque 
and  romantic,  possibly  profitable  to  the  market,  and  full  of  that  remarkable 
drawing  which  only  an  old  apple  or  fig  tree  possesses.  There  are  said  to  he 
few  things  more  beautiful  or  altogether  more  satisfying  and  stimulating  to 
a sensitive  person  than  the  view  of  a summer  sky  seen  through  the  thick  fo- 


PROPERTY  IN  ORIGINAL  FORM 

The  sketch  discloses  the  position  of 
the  old  house  with  its  small  outbuildings, 
roadway,  fence  line,  bushes  and  orchard 


PLAN  AS  IT  IS  TO-DAY 

Thanks  to  the  improved  design,  the 
old  apple  orchard  becomes  a walled  garden 
and  is  rejuvenated  by  improved  scheme 


liage  and  overhanging  houghs  of  the  apple  tree.  The  leaves  make  a won- 
drous diaper  of  rare  beauty. 

Turn  if  you  will  to  the  sketch  plan  as  it  is  to-day.  Here  the  old  apple 
orchard  has  become  a walled  garden.  True,  we  miss  some  of  the  trees  in 
the  center  and  note  their  place  has  been  pre-empted  by  a mirror  pool  upon 
the  broad  stone  curbing  of  which  stand  low  hushes  in  fat  earthenware  jars, 
a little  friendly  competition  with  the  red  above,  which  at  certain  angles  ap- 


THE  HOME  OF  THE  REV.  J.  HUTCHESON,  WARREN,  R.  I. 


139 


pear  in  the  reflections  upon  the  surface  of  the  water.  Here  also  is  a broad 
bordering  of  flowers  of  many  colors;  the  deep  blue  of  the  delphinium,  the 
purple  of  the  iris,  is  here  among  the  backing  to  the  smaller  blossoms  among 
the  shadows,  and  as  a climax  to  it  all  we  realize  that  something  else  has  been 
added  to  the  scene  by  the  wise  omission  of  the  wall  at  the  southeasterly  end, 
the  charm  of  distance  and  opalescence  with  magic  grays  and  silvery  tones 
forever  associated  with  the  sea.  In  the  center  of  the  mirror  nool  is  a small 
fountain,  just  suf- 
ficient to  give  a lit- 
tle sparkling  note, 
a sense  of  move- 
ment to  the  sur- 
face, of  murmur- 
ing amid  the 
flowers  a n d the 
sunshine. 

Further  study 
of  the  plan  reveals 
the  value  of  the 
scheme  as  a whole, 
and  from  the  ac- 
companying views 
we  find  the  house 
to  have  a fine  clas- 
sical portico  and  to 
be  correct,  calm 
and  very  effective 
in  line.  It  is  ap- 
proached through  an  avenue  of  elm  trees.  It  was  to  secure  satisfactory  root- 
age to  some  of  these  promising  tenants  that  much  of  the  original  rock  had 
to  he  blasted.  The  scheme  provides  for  a tennis  court,  garage,  stable,  gar- 
dener’s cottage  and  vegetable  garden,  and  a well-proportioned  shelter  at  the 
northwesterly  end  of  the  garden.  It  will  he  noted  that  the  shore  frontage, 
toward  which  the  property  gently  slopes,  has  been  severely  let  alone,  and 
that  the  planting  lias  been  so  arranged  as  to  make  of  the  frontage  from 
the  Bay  a well-balanced  picture.  It  is  a small  property  with  a singular 
charm.  The  visitor  feels  that  everything  is  related  to  that  walled  orchard 
with  its  wondrous  light. 


THE  NORTHEASTERLY  VIEW  SHOWS  THE  ARBOR 

The  potency  of  the  new  planting  scheme  is  most  satisfactorily  re- 
vealed by  examining  closely  the  accompanying  plan  of  property  as  it 
is  to-day.  The  mirror  pool  takes  the  place  of  some  of  the  apple  trees 


FRONT  VIEW,  SHOWING  BAY  OF  LIVING  AND  DINING  ROOM  WITH  LOGGIA 
The  bays,  arcading,  long  windows,  and  overhanging  roof  are  responsible  for  a pleasing  elevation 


Home  of  Mr.  L.  J.  Burgess,  Zanesville,  O. 

Howell  & Thomas,  architects 

Illustrations  from  original  drawing  and  photographs 

COMMEND  me  to  the  man  who  finds  pleasure  in  serviceable  features 
adding  to  the  comfort  of  the  home  lover.  By  common  consent  we  get 
more  out  of  a square  house,  dollar  for  dollar,  than  of  a house  of  any 
other  kind.  It  is  economical.  Economical  is  it  as  to  space  and  running 
expenses,  excellent  for  domestic  service,  and  for  heating  inviting  a good, 
general  system  of  intercommunication  between  rooms.  A square  house  is 
workable  and  adjustable  to  many  subdivisions. 

Some  people  condemn  this  description  of  building  because,  forsooth,  in 
the  hands  of  certain  architects  it  verges  on  the  commonplace.  “There  are 
so  many  square  houses,  we  tire  of  them,”  say  they.  This  is  high  praise! 
The  internationalization  of  this  form  of  dwelling  is  one  of  its  strong  points. 
H aving  the  cosmopolitan  appeal,  it  has  become  universal  in  its  make-up. 

By  means  of  two  five-lighted  bays,  semicircular  in  plan  and  connected 
by  a well-proportioned  loggia,  this  interesting  house  at  the  extreme  edge  of 
the  city  of  Zanesville,  Ohio,  assumes  considerable  importance. 

1 40 


HOME  OE  MR.  L.  J.  BURGESS,  ZANESVILLE,  O. 


141 

It  is  interesting  to  learn  from  the  accompanying  sketch  that  gives  the 
principal  rooms  that  A is  the  hall,  B the  dining  room,  C the  living  room,  I) 
the  music  room,  E the  reception  room  and  F the  sun  parlor  or  living  porch 
as  you  will.  It  is  through  the  loggia,  here  indicated  by  the  letter  G,  that  we 
enter  the  house.  K is  the  kitchen  and  accompanying  service  wing. 


PLAN  SHOWING  ATTENTION  BESTOWED  ON  GENERAL  SCHEME 

The  house  is  very  pleasing,  upon  an  exalted  terrace  among  shadows  of  oak  trees.  The  stucco  re- 
flects brilliancy  of  light,  making  an  interesting  contrast  to  delicate  shades  of  green  and  russet  of  flic 
foliage.  The  service  part  is  separate,  with  its  stairway,  its  own  bathroom  and  porch  for  the  maids 

The  trim  of  the  hall  and  living  room  is  of  red  gum,  oiled  and  waxed.  The 
ceiling  of  the  former  is  panelled  with  the  same  material.  The  side  walls 
are  of  gray  sand-finished  plaster.  On  the  upper  floor  there  is  an  unusual 
provision  for  amateur  photography.  This  is  for  Mrs.  Burgess,  who  has  found 
it  of  great  service.  Throughout  the  house  there  is  a graceful  testimony  to  the 
love  of  color.  Some  of  the  fireplaces  are  decorated  with  tiles  imported  from 
Holland.  The  child’s  room  has  a built-in  wardrobe  and  a cabinet  for  toys. 
We  must  not  forget  the  room  in  the  basement,  finished  with  dull-red  brick 
walls,  beamed  ceiling  and  open  fireplace,  popular  for  winter  entertainments. 


142 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


In  the  interesting  case  before  us,  it  is  evidently  so  well  within  the  grasp 
of  a cultivated  mind  as  to  include  in  its  design  many  other  sympathetic  ideas 
of  a descriptive  character.  It  is  interesting  to  see  the  prominence  given  to 

the  circle  as  a decorative 
and  structural  element. 
This  is  obvious  in  the 
arching  between  the 
square  piers  of  the  loggia 
and  in  the  treatment  of 
the  spandrils  immediately 
over  them,  where  a small 
mosaic  of  glass  enamel 
appears  lunette  fashion. 
Even  the  trellising  fol- 
lows this  outline.  The  cir- 
cle has  been  remembered 
in  the  drawing  of  the 
small  areas  which  light  the 
basement  and  in  the  foun- 
tain upon  the  rear  terrace. 

Fortunately  the  site  is 
very  high  and  is  thickly 
covered  with  old  oak  trees 
reaching  high  overhead. 
The  view  to  the  west  over- 
1 o o k s the  Muskingum 
Valley.  The  living  and 
reception  rooms  are  so  lo- 
cated as  to  make  the  most 
of  the  sunlight.  On  the 
westerly  frontage  there  is 


THE  TERRACE  MAKES  AN  ATTRACTIVE  PICTURI 


The  mirror  pool  and  fountain  make  a valuable  note,  a 
spot  of  bright  light  ever  to  be  enjoyed,  a sense  of  movement 
and  life.  Water  has  the  quality  of  transmitting  light 


a small  semi-informal 
garden  with  a little  foun- 
tain and  pool  upon  the 
terrace,  making  it  of  in- 
terest. Throughout,  the  house  is  decidedly  modern  in  character,  embodying 
many  features  of  the  present  phase  of  Germany.  Occasionally  we  find  some- 
thing unmistakably  Italian  in  incentive,  but  this  displays  the  influence  of 
the  German  mind. 

The  human  element  and  the  pleasure  of  entertaining  in  a social  man- 


HOME  OF  MR.  L.  J.  BURGESS,  ZANESVILLE,  O. 


113 


ner  may  be  responsible  for  tlie  provision  for  musicales  and  charades,  for  we 
see  in  tlie  arrangement  of  the  floor  levels  that  the  floor  of  the  music  room 
and  reception  room,  adjoining,  is  two  steps  above  the  main  of  the  house, 
being  just  sufficient  to 
give  an  opportunity  for 
an  evening  at  home  in  a 
dramatic  fashion,  with 
customary  accommoda- 
tion for  scenic  effects. 

The  music  room  is  practi- 
cally a part  of  the  living 
room,  being  separated 
only  by  an  arched  open- 
ing and  the  two  steps. 

All  this  is  very  delightful. 

Over  the  mantel  of  the  re- 
ception room  is  a convex 
mirror  reflecting  the  mu- 
sic* room  and  the  sun  par- 
lor or  living  porch  be- 
yond. Mr.  Burgess  was 
so  fortunate  as  to  discover 
in  Munich  some  admir- 
able panels  of  stained  and 
painted  glass  which  have 
been  incorporated  into 
the  windows.  The  living- 
room  of  course  becomes  a 
center  of  attraction  in  the 
family  and  of  great  serv- 
ice with  its  recesses  for  the 
accommodation  of  books 
and  splendid  bay,  the 
casements  of  which  open 
out  and  have  leaded  glaz- 
ing. It  is  well  lighted  from  both  sides  of  the  house.  The  side  walls  are 
covered  with  a woven  fabric,  golden  brown  in  tone,  which  goes  well  with  the 
dark  brown  of  the  woodwork.  The  dining  room  ceiling  is  vaulted.  What 
ornament  it  has  is  of  interest,  the  work  of  modellers  famous  in  the  district. 
Idle  lighting  fixtures  are  of  silver  from  the  Birmingham  gild  of  England. 


SEMICIRCULAR  BAA'S  OPEN  ON  FRONT  TERRACE 

An  attractive  arrangement  of  windows  and  an  agreeable 
setting  to  which  lace-like  shadows  contribute  liberally.  The  scene 
is  full  of  color.  The  color  is  the  result  of  good  material 


144 


FROM  THE  MEADOW  IN  FRONT  OF  THE  HOUSE  WE  GET  AN  ADMIRABLE  VIEW  OF  THE  GARDEN  ELEVATION 


THE  ENTRANCE  WITH  CIRCULAR  DRIVEWAY  IS  HERE  VERY  WELL  ILLUSTRATED 
The  trees  lining  the  approach  give  it  an  excellent  impression;  the  window  heads  are  interesting 


Home  of  Mr.  Guido  Hanson,  Pine  Lake,  Wis. 

Brust  & Philipp,  architects 

Illustrations  from  original  drawing  and  photographs 

EVERY  once  in  a whole  some  one  builds  a house  defying  our  limited 
ideas  of  classification.  We  are  tempted  to  class  it  by  some  other  term. 
Loving  a bungalow  and  that  gypsy  camp  life  with  which  it  is  generally 
associated,  we  want  to  speak  of  it  under  that  intangible  nomenclature,  for 
while  it  has  characteristics  of  the  charm  and  abandon  of  life  in  India  which 
gave  us  the  word,  it  has  a rather  more  serious  air,  as  becomes  a house  quali- 
fied for  the  serious  affairs  of  life. 

This  is  very  much  the  way  we  feel  when  we  look  at  the  little  place 
recently  built  in  the  thick,  woody  section  around  Pine  Lake,  where  it  is 
well-nigh  hidden  among  the  oaks  and  chestnuts.  The  owner  is  to  he  con- 
gratulated that  his  property  has  a large  open  breathing  space,  a meadow  on 
the  high  spot  of  which  he  has  built.  He  is  further  to  he  congratulated  on  the 
richly  wooded  background  which  set  the  pace,  so  to  speak,  and  which  fills 


145 


146 


THE  LIVING  ROOM  IS  UN  USUALLY  LARGE  AND  LIGHTED  FROM  ALL  DIRECTIONS 


HOME  OF  MR.  GUIDO  HANSON,  FINE  LAKE,  WIS. 


117 


the  daily  life  with  perfume,  color  and,  occasionally,  with  movement,  always 
with  cool  shade  and  transparent  shadows.  I say  “congratulated”  because 
these  are  things  money  cannot  buy,  but  even  the  pennies  of  the  poor  can 
damage  irreparably,  nay,  destroy.  This  little  place  literally  in  the  wood — call 
it  a bungalow  or  house,  as  you  will,  and  for  my  own  part  I would  rather  call  it 
a camp — must  be  delightful  for  the  summer.  Thanks  to  the  architect,  it  has 
assumed  quite  a little  prominence  with  all  its  deliberate  refusal  to  avoid 
serious  proportions. 

From  the  pillared 
entrance,  semicircu- 
lar in  plan,  and  brave 
with  canopy  and  tiled 
door,  the  windows 
with  their  arched  re- 
cesses overhead  and 
oriel  at  the  stair  land- 
ing, the  loggia  and 
covered  p o r eh  ex- 
tending to  the  ser- 
vants’ quarters,  from 
the  stately  fashion  in 
which  the  living  room 
ceiling  is  treated,  the 
scheming  of  the  mi- 
nor rooms,  the  un- 
usual stairway,  the 
detailing  of  the  fire- 
place, and  in  many 
other  ways  do  we 
note  the  attention 
which  has  been  bestowed  upon  small  things,  things  of  great  importance. 

It  is  pleasing  to  see  from  the  views  that  the  owner  realized  that  upon 
the  furnishing  and  decoration  much  depends.  He  has  kept  it  simple.  He 
has  also  arranged  to  introduce  into  the  kingdom  a sense  of  brightness  and 
good  cheer.  Possibly  the  color  has  much  to  do  with  this,  for  we  find  no 
little  care  has  been  exercised  in  that  regard. 

Over  and  above  all  does  the  man  of  the  world  look  to  other  things 
for  his  pleasure,  being  less  concerned  with  the  fitment,  the  habiliments  of  the 
bungalow  than  with  the  bungalow  itself  and  of  the  part  it  plays  in  his  daily 
life,  for  it  is  the  land  of  individual  freedom. 


THE  SKETCH  PLAN  SPEAKS  ELOQUENTLY  FOR  ITSELF 

Here  is  a small  house  with  a great  idea — one  very  strong  feature 
big  and  worth  while.  A room  big  enough  for  a dance.  The  servants’ 
quarters  are  indicated  but  not  detailed.  The  prominent  view  is  from 
the  porch  on  terrace  overlooking  valley  in  the  greater  distance 


A PORTION  ONLY  OF  AN  INTERESTING  DESIGN 

In  the  hands  of  a sympathetic  designer,  a gardener’s  cottage 
makes  an  exceedingly  pleasing  addition  to  any  hillside  property 


Gardener’s  Cottage  at  St.  Martins,  Pa. 

Edmund  B.  Gilchrist,  architect 

Illustrations  from  original  drawing  and  photographs 

IN  the  delightful  little  gardener’s  cottage  at  St.  Martins,  Pennsylvania, 
can  readily  be  seen  the  underlying  principles  of  good  bidding  design  and 
the  straightforward  use  of  honest  material.  It  is  built  of  rough  stone 
heavily  coated  with  stucco,  and  has  a walled  garden  with  pathway  and 
steps  leading  down  by  easy  stages  to  a deep  and  irregular  ravine.  It  is 
located  in  a thickly  wooded  section  through  which  runs  one  of  those  fas- 
cinating brooks  for  which  Pennsylvania  is  noted. 


148 


GARDENER’S  COTTAGE  AT  ST.  MARTINS,  PA. 


149 


Into  this  house  lias  gone  much  that  is  very  pleasing  and  that  appeals 
alike  to  the  painter,  the  poet,  the  writer  and  the  traveler  in  foreign  parts 
who  is  accustomed  to  find  in  buildings  a certain  quality  of  charm  and  ro- 
mance. For  instance,  here  is  a conspicuous  absence  of  frivolous  self-con- 
scious detail,  of  false  construction  and  of  false  accent.  Circular  headed 
arches  carry  the  gable  over  the  entrance  porch.  The  eaves  are  well  con- 
trived. The  dormers  are  content  to  give  light  and  are  able  to  do  so 
without  disturbing  the  skyline.  The  window  sills  are  of  brick  or  moulded 
wood.  The  walls  are  thick,  giving  a good  liberal  reveal.  Here  are  piers  that 
batter  and  hardware  that  recalls  once  again  the  heat  of  the  anvil  and  bears 


upon  itself  testi- 
mony to  the  di- 
rectness of  the 
hammer.  T h i s 
technical  detail  is 
well;  still  the  eye 
of  the  domestic 
person  will  turn 
with  pleasure  to 
the  large  kitchen 
fireplace  w i t h 
boiler,  movable 
iron  griddle  sock- 
eted to  the  hob 
with  hook  above 
for  roasting,  to 
the  broad  fender 
on  which  stand 
kettle  and  plate 
of  buttered  toast, 
to  the  big  oak 
press  of  the 


SKETCH  OF  COTTAGE,  GARDEN  AND  RUSTIC  PATH  TO  WOOD 

Walled  enclosure  and  rustic  steps  leading  down  to  stream  hidden  in 
underbrush.  The  flagging  to  entry  testifies  upon  its  broad  face  to  the 
activity  of  the  tireless  stream,  the  melodious  prattle  of  which  makes 
merry  in  the  ravine.  Only  the  hard  stones  survive  the  ceaseless  wear 


neighboring  room  for  daily  use  and  storage  rather  than  ornamental,  to  the 
long,  comfortable  sofa  under  the  low,  latticed  window,  and  smile  compla- 
cently. The  lettering  on  plan  shows  A to  he  living-room,  II  entrance  hall 
with  open  stairway  leading  to  rooms  above,  and  C kitchen.  1)  denotes 
position  of  fence  line  from  which  ground  suddenly  falls  away,  and  E stone 
porch  with  archway  and  room  above,  and  gabling,  an  agreeable  and  pleas- 
ing picture,  all  must  surely  admit. 


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150 


Estate  of  Mr.  J.  B.  Coryell,  Menlo  Park,  Cal. 

Willis  Polk,  architect 


Illustrations  from  photographs  hy  Gabriel  Moulin 


S not  the  Californian  a great  rogue?  He  is  a lover  of  ro- 
mance, and  yet  one  of  the  most  up-to-date  utilitarians  of  our 
continent.  We  are  proud  of  him.  Look  at  his  power  of 
assimilation,  his  adaptability.  He  is  an  optimist.  Not  con- 
tent with  stealing  our  hearts  by  setting  a new  pace,  a new 
standard,  he  declines  to  accept  seriously  this  life  as  the  ulti- 
mate end  of  things  and  insists  upon  smiling  at  the  vexatious  problems  of  the 
hour,  while  we  of  the  East  pause  to  analyze  and  reconsider.  He  enriches 
the  home  with  the  timely  addition  of  fruits  and  flowers,  defying  time,  sea- 
son, distance,  and  places  within  reach  of  our  women  folk  jewels  of  peculiar 
charm.  He  arouses  Dame  Architecture  so  to  transmit  ideas  of  building 
as  to  produce  at  a reasonable  expense  a maximum  of  beauty  and  romance. 
The  Easterner  must,  perforce,  brave  the  dangers  of  the  northern  Atlantic 
to  get  from  afar  architectural  inspiration;  the  Californian  is  more  fortu- 
nate. Can  he  not  glean  inspiration  from  the  missions,  from  heroic  workers 
who,  in  their  tireless  zeal  for  religious  life,  erected  of  the  common  clay  and 
an  occasional  bough  of  a tree  a temple  of  great  charm?  Enshrined  in  the 
missions  of  California  are  lessons,  even  in  building,  lessons  in  tabloid  form 
that  a child  might  learn,  exhibiting  many  subtle  methods  of  using  local  ma- 
terials to  exalted  ends,  and  of  adapting  them  to  the  ever-varying  demands 
of  the  individual  and  the  occasion. 

The  accompanying  views  of  an  interesting  group  of  buildings  at  Lloy- 
den,  the  estate  of  Mr.  Joseph  11.  Coryell,  at  Menlo  Park,  about  thirty  miles 
from  San  Francisco,  on  the  old  Spanish  highway  known  as  El  Camino  Real, 
illustrate  graphically  one  of  the  many  methods  by  which  the  story  of  the 
missions  is  re-translated  into  every-day  requirements.  Here,  also,  is  a 
whisper  from  the  four  great  continents.  The  group  reveals  in  its  long, 
open  shed  of  the  primitive,  an  adaptation  of  the  Cliffdwellers.  The  square 
enclosed  court  of  the  fighter  recalls  the  days  of  the  Middle  Ages.  The 
two-storied  house  of  the  lover  of  domesticity  is,  as  it  were,  a contribution 
from  many  lands  and  many  ages,  adapted  to  suit  all,  expressing  all,  and 
ever  improving,  and  crowning  the  group  is  the  gable  suggesting  the  spiri- 


151 


152 


THE  ENTRANCE  TO  THE  COURT  IS  BETWEEN  THE  CARRIAGE  HOUSE  AND  THE  LODGE 


ESTATE  OF.  MR.  J.  B.  CORYELL,  MENLO  PARK,  CAL. 


153 


tual  impress  of  the  Church.  The  group  also  gives  something  of  the  cul- 
ture of  Europe,  the  skilful  craftsmanship  of  Asia,  the  imagination  of  Africa 
—shall  we  ever  forget  the  solemn  seriousness  and  poise  of  an  Egyptian 
statue,  or  solve  satisfactorily  the  mighty  mystery  of  the  Sphinx? — and  the 
progressiveness  of  America. 

This  glimpse  through  the  veiling  of  history  and  romance  does  not  didl 
for  an  instant,  but  quickens,  somewhat,  our  sensibilities  to  the  many  attrac- 
tions of  the  scheme  before  us.  It  is  a setting  for  the  picture. 

This  low,  broad,  red-tiled,  wide-gabled  group,  partly  covered  with 
Virginia  creepers,  is  a picturesque  solution  of  an  every-day  problem,  a col- 
lection of  buildings,  independent  in  themselves,  and  yet  forming  a part  of 
the  general  plan.  To  the  right  of  the  central  court,  as  we  enter,  is  the  lodge 
with  its  lounging  room  for  the  coachman  and  chauffeur  and  its  sleeping 
rooms  above,  and  in  the  rear,  loose  boxes  and  other  stabling  for  horses. 
To  the  left  is  the  vaulted  carriage  house,  some  thirty-four  feet  long  by 
twenty-two  feet  wide,  the  side  walling  of  which  is  subdivided  by  recesses 
extending  into  the  vaulting  overhead.  Beyond  this  and  having  its  own  en- 
trance is  the  gardener’s  cottage,  with  kitchen  and  bedrooms  on  the  same 
floor.  Immediately  behind  the  central  court  and  on  the  same  axial  line  is  the 
garage,  with  its  work  bench  and  two  counter-sunken  pits,  bordered  by  a 
well-contrived  curbing  leading  to  a convenient  position  for  examining,  clean- 
ing and  repairing.  One  of  the  most  engaging  and  satisfactory  features  of 
the  composition  is  the  naive  manner  in  which  it  is  constructed.  Although 
modern  in  conveniences,  it  is  old  in  spirit.  The  walls  are  so  thickened  as 
to  give  a deep  reveal  to  all  windows  and  doors.  Piers  are  resorted  to  to 
invite  arched  entrances  in  the  rear  walling  of  the  open  shed,  to  the  wall  con- 
necting the  central  court  with  the  garage  and  to  the  little  arcading  or  loggia 
and  elsewhere.  All  piers  are  superimposed  at  corners  by  the  addition  of 
metal  beads  of  cast  iron.  They  are  also  buttressed  in  places.  Stepped  or 
weathered  buttresses  give,  not  alone  a satisfactory  structural  quality,  but  a 
very  pleasing  reminiscence  of  the  n issions.  The  circular  window  in  the 
gable  of  the  carriage  house  is  of  an  interesting  outline,  a square  and  circle 
interchanging,  with  splayed  jamb. 

The  stable  is  a cement  concrete  building  of  parchment-like  tone,  rough 
in  texture.  From  this  wall  the  bay  of  the  lodge  projects  slightly  and  is 
very  effective.  It  is  so  contrived  as  to  find  in  the  overhanging  roof  an  agree- 
able and  welcome  shelter.  The  low-arched  entrances  are  accented  by  moulded 
string  courses  which  return  upon  themselves.  The  gabled  termination  of 
the  chimney  is  distinctly  Oriental  in  spirit.  The  color  accent  of  the  group 
is,  naturally,  upon  the  every-day  clay  roof-tiling,  which  consists  of  a series 


MASSIVE  PIERS  AND  WROUGHT-I RON  GATES— A STATELY  ENTRANCE 

Here,  on  the  old  Spanish  highway  known  as  El  Camino  Real,  trodden  by  gentle  ereole 
or  crafty  robber,  we  are  welcomed  to  a vast  woodland  garden  rich  with  delicately  interlacing 
foliage  of  the  majestic  eucalyptus.  Occasionally  a stalwart  oak  reaches  forth  its  great 
motherly  arms,  extending  to  all  comers  the  protection  we  all  love  at  times 

of  alternating  ridges  and  furrows  running  continuously  from  ridge  to  eaves. 
The  design  also  provides  for  a cresting  of  the  same  character.  The  tiles 
vary  in  color,  texture,  and  in  the  way  they  transmit,  absorb  or  reflect  light. 
They  are  arrogant,  independent,  little  particles  of  inanimate  absurdity,  more 
fantastically  human  than  anything  yet  devised  by  man  as  a roof  covering. 
They  love  their  own  way.  They  wind  and  twist  in  the  drying  and  vary  in 
thickness,  in  their  manner  of  holding  weather  markings  and  incrustations, 
moss  and  lichens. 

The  setting  to  the  group  is  diversified  in  outline  and  ever  beautiful. 
The  lordly  eucalyptus  of  great  height,  the  spreading  limbs  of  the  live  oak, 
force  into  contrast  the  stern,  rectangular  lines  of  the  building.  The  live  oak 
is  an  evergreen.  The  boughs  are  curiously  gnarled  and  twisted.  They  are 
low  and  spreading,  casting  a graceful  shade  over  everything.  In  the  sun- 
light the  leaves  and  twigs  diaper  the  wall,  humanizing  it  as  the  canvas  of  a 
painter. 

By  a sort  of  spontaneous  instinct  does  the  architect  reverence  and  en- 


154 


ESTATE  OF.  MR.  J.  B.  CORYELL,  MENLO  PARK,  CAL. 


155 


courage  in  others  incense-burning  to  the  mission  style  of  building,  the  style 
transmitting  to  us  some  of  the  best  of  the  ancient  Spanish  civilization  and 
that  of  the  Orient,  as  they  see  it  and  assimiliate  it  in  their  own  way.  It  has, 
as  it  were,  an  emotional  quality,  appealing  to  the  comprehension  of  the  man 
of  the  street.  Has  it  not  shaped  and  inspired  our  furniture  and  decoration 
by  teaching  us  to  be  direct  and  reasonable  in  our  desires?  We  do  not  need 
to  be  skilled  archeologists  or  earnest  seekers  of  the  delicate  differences  of 
architectural  periods  of  France,  in  order  to  grasp  the  strange  significance 
of  the  missions,  the  message  of  which  is  not  only  spiritual,  but  intensely  prac- 
tical, concerning  itself  with  the  very  habitations  of  man.  They  were  re- 
sourceful workers.  In  a subtle  manner  these  enthusiasts  dwelt  among  us, 
and  of  local  materials  built  houses,  as  well  as  cloisters  and  churches,  of  a 
vigorous  and  wholesome  fashion  full  of  poetic  ideals,  original  in  transmis- 
sion of  Oriental  themes,  so  that  to  us  moderns  there  is  verily  a magic  in  the 
name  we  voice  with  reverence. 

Yes,  the  Californian  is  a great  rogue.  We  of  the  East  love  his  big- 
hearted  method  of  treating  things,  making  of  the  most  humble  buildings 
something  which  invites  thought  as  well  as  admiration. 


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156 


The  North  Carolina  Estate  of  Mr.  Pembroke  Jones 

J.  Stewart  Barney,  architect  of  Bungalow 
John  Russell  Pope,  architect  of  Temple  of  Love  and  Entrance  to  Park 

111  ustrations  from  original  drawing  and  photographs  by  W.  H.  Kirk  and  others 

ORTUNATELY  an  ideal  has  many  aspects  and  interpreta- 
tions. Otherwise  the  ideal  home,  once  discovered,  would  be 
duplicated  all  over  the  country  and  we  should  be  reduced  to 
one  size  of  house  and  one  style  of  architecture.  There  is  only 
one  permanent  feature  of  all  ideal  homes,  and  that  is  ex- 
actly the  fact  that  they  cannot  he  duplicated.  The  most 
delightful  homes  are  those  that  have  been  lived  in  by  a number  of  generations 
of  one  family.  They  become  then  a composite  expression  of  a section  of  the 
race.  Rut  a home  which  has  only  recently  been  created  may  very  soon  pos- 
sess that  wonderful  quality  of  appropriateness,  if  the  creator  he  a person 
of  strong  individuality  with  a love  of  the  country. 

In  the  second  place,  the  best  kind  of  home  is  one  which  has  its  roots  in 
the  soil,  which  grows  into  the  landscape  as  if  it  had  always  been  there.  Your 
architect  may  gather  his  ideas  all  the  world  over.  He  may  borrow  from 
the  English  Gothic  or  the  French  Renaissance.  Any  good  artist  is  a plagia- 
rist. But  he  must  make  his  knowledge  of  styles  subordinate  to  the  nature 
of  the  country  he  is  building  in  and  to  the  character  of  the  person  he  is 
building  for;  otherwise  he  produces  merely  a house,  and  not  a home. 

The  wooden  Colonial  style  of  country  house  has  one  advantage  over  all 
others.  It  is  distinctly  American  and  natural  to  the  country.  You  may  not 
like  it  as  well  as  some  others,  but  you  can  never  feel  that  it  is  inappropriate. 
It  harmonizes  with  nearly  every  kind  of  American  landscape.  Such  a house 
is  Airlie,  in  North  Carolina,  the  home  of  Mr.  and  Mrs.  Pembroke  Jones.  A 
mere  glance  at  the  picture  of  the  long  white  structure  brings  up  memories 
of  old  Colonial  days  when  all  men  were  gallant  and  all  women  were  beautiful. 
Obviously  it  has  been  lived  in  for  a long  time  and  has  been  required  to  meet 
the  needs  and  tastes  of  succeeding  years;  for  additions  have  been  made  and 
wings  thrown  out  here  and  there  until  it  is  a house  of  many  mansions. 
There  is  a peculiar  fascination  about  these  old  family  dwellings  that  have 
taken  on  the  varied  accretions  of  time.  Outwardly  they  grow  into  the  land- 
scape to  a far  greater  extent  than  a house  that  has  never  been  altered;  for 


157 


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158 


THE  NORTH  CAROLINA  ESTATE  OF  MR.  PEMBROKE  JONES  159 


the  alterations  and  additions  are  necessarily  made  to  conform  to  the  land- 
scape. When  yon  build  a new  house  you  can  more  or  less  mould  your  land  to 
your  ideas  of  architecture,  but  once  the  house  is  built  it  is  impossible  to  do 
very  much  with  the  land,  and  you  have  to  make  your  additions  to  fit  into  the 
general  scheme  of  things.  Internally  also  a house  with  added  wings  has 
nearly  always  the  effect  of  being  thoroughly  livable,  for  the  additions  have 
been  made  by  people  who  knew  the  house  by  experience  and  know  what  is 
needed  to  make  it  complete. 

The  roofs  of  Airlie,  with  their  many  angles  and  corners,  suggest  all  man- 
ner of  surprises  and  ramblings,  and  the  interior  does  not  belie  the  promise. 
You  never  get  to  the  end  of  such  a house.  There  is  always  a new  room,  or 
a j>assage  leading  to  unknown  territory.  One  might  live  there  for  a week 
and  never  guess  that  there  was  a covered  tennis  court  right  in  the  middle 
of  the  house  just  off'  the  breakfast  room. 

In  outward  appearance  the  house  has  the  effect  of  being  thoroughly 
rooted  there  for  all  time,  and  you  come  upon  it  standing  in  the  open  after  a 
drive  of  three-quarters  of  a mile  or  so  through  woods  of  magnificent  pines 
and  live  oak.  It  is  a splendid  plan  to  have  an  approach  that  winds  in  long 
curves  through  trees,  so  that  one  is  constantly  getting  new  vistas  with  a 
glimpse  or  two  of  the  house  itself  towards  the  end.  This  particular  ap- 
proach is  perfect  in  that  respect,  for  it  bridges  a considerable  inlet  of  the 
Sound  when  one  has  no  idea  that  the  sea  is  anywhere  in  the  neighborhood, 
and  then  passing  through  isles  of  live  oak  with  the  drooping  festoons  of  moss 
which  are  so  characteristic  of  the  South,  it  makes  a great  sweep  round  the 
open  expanse  of  lawn  up  to  the  pillared  entrance  which  faces  the  open 
water.  In  that  way  a double  surprise  is  arranged,  since  one  discovers  the 
house  and  the  arm  of  the  sea  at  the  same  time. 

The  climate  of  North  Carolina  lends  itself  to  many  beautiful  effects 
of  color  at  times  of  the  year  when  there  is  no  color  elsewhere.  The  live  oaks 
give  a constant  background  of  green,  and  even  in  March  there  is  plenty 
of  blossom.  Camellias  bloom  out  of  doors;  the  beech  trees  are  a mass  of  pink 
blossoms  and  the  jasmine  shows  its  white  stars  against  shiny  green  leaves. 
Then  there  is  “pettisporum,”  the  most  fragrant  flowering  shrub  in  all  the 
Southern  land.  They  call  it  Daphne  on  the  Riviera,  and  the  smell  of  it 
brings  memories  of  warm  evenings  on  the  Californie  hill  at  Cannes.  Spinea, 
too,  is  out  in  March,  to  say  nothing  of  the  magnificent  magnolia.  Later  on 
the  roses  make  Airlie  a paradise  of  pink  and  white  and  yellow.  Rut  it  is  in 
the  earlier  spring  that  the  frozen  Northerners  are  fascinated  with  the  flowers 
of  North  Carolina. 

One  of  the  most  delightful  features  of  Airlie  is  Pembroke  Park,  which 


160 


THE  NORTH  CAROLINA  ESTATE  OF  MR.  PEMBROKE  JONES  161 


adjoins  the  property.  That  is  a stretch  of  three  thousand  acres  of  woodland 
which  Mr.  Pembroke  Jones  has  acquired  in  recent  years  as  a pleasure 
ground  for  his  family  and  his  friends;  and  all  of  North  Carolina  seems  to  be 
included  in  the  category.  The  difference  between  a park  and  nature’s  for- 
est is  simply  that  the  owner  has  made  twenty-eight  miles  of  road  good 
enough  for  horse  and  buggy  through  his  property,  so  that  now  it  is  easy  to 
enjoy  nature’s  beauties. 

Also,  he  has  built  for  himself  a Bungalow  of  which  pictures  are  here 
shown.  Wishing  to  have  a little  rest  house  in  the  Park,  Mr.  Pembroke 
Jones  turned  to  one  of  those  charming  books  issued  by  popular  firms  of  house- 
constructors  wherein  the  reader  is  taught  how  to  build  a simple  house  with 
all  the  requirements  of  home  for  the  modest  sum  of  fifteen  hundred  dol- 
lars. lie  was  interrupted,  however,  by  an  artistic  architect  friend  called 
Stewart  Barney,  who  assured  him  that  he  was  losing  a great  opportunity  for 
getting  something  just  a little  more  expensive  hut  ever  so  much  more  beau- 
tiful. The  friend  drew  the  plans,  and  the  result  was  a wonderful  French 
pavilion  with  a large  living  room  in  the  center,  three  or  four  perfectly  ap- 
pointed bedrooms  in  one  wing  and  a kitchen  fit  to  cater  to  twenty  guests  in 
the  other.  The  doorknobs  alone  probably  cost  more  than  the  bungalow  of  the 
book.  But  the  result  was  all  that  could  be  desired.  For  this  French  archi- 
tecture curiously  suits  the  groves  of  wonderful  live  oaks  in  which  it  is 
placed.  And  the  name  of  the  Bungalow  has  been  preserved  to  indicate  the 
rural  simplicity  of  the  life  which  can  still  be  led  there  if  one  wishes  to  lead  it. 

Near  the  Bungalow  the  road  crosses  a little  stream  which  is  bridged  in 
the  same  style  of  architecture.  And  one  might  swear  that  it  was  just  there 
that  Melisande  sat  and  dropped  her  ring  into  the  water.  Indeed,  the  whole 
effect  of  the  oaks  with  their  drooping  moss  looking  like  trees  in  a dream  is 
that  of  a Maeterlinck  drama.  After  a visit  to  the  Bungalow,  one’s  opinion 
of  Oscar  Hammerstein  goes  up  several  points;  for  in  his  production  of  “Pel- 
leas  et  Melisande”  he  created  so  exactly  the  atmosphere  of  these  mysterious 
southern  woods. 

The  Bungalow  is  not  always  Maeterlinckian.  Occasionally  the  pavilion 
is  alight  with  the  glow  of  modern  electricity  and  a fair  portion  of  North 
Carolina  society  is  gathered  there  to  discuss  true  Carolina  cooking  in  prepa- 
ration for  a coon  hunt.  The  guests  ride  or  drive  through  the  woods  after 
the  dogs,  while  an  army  of  negroes  run  ahead  carrying  torches,  the  horses 
in  galloping  confusion  after  them.  If  the  moon  is  shining  and  there  is  just 
a touch  of  frost  in  the  air  so  much  the  better.  You  will  never  forget  such  a 
night  in  the  dream  forest  of  North  Carolina. 


162 


TEMPLE  OF  LOVE,  A SHORT  DISTANCE  FROM  THE  SOUTHERN  ENTRANCE  TO  THE  BUNGALOW 
Like  the  mythical  legends  of  the  Greeks,  even  our  prosaic  day  cherishes  the  idea  that  dryads  and  wood  nymphs  haunt  the  forest 


THE  NORTH  CAROLINA  ESTATE  OF  MR.  PEMBROKE  JONES  163 


The  estate  is  about  nine  miles  from  Wilmington.  It  is  very  large.  The 
frontage  upon  Wrightsville  Beaeh  is  thickly  wooded  with  live  oak,  magnolia 
trees,  Norway  pine  and  fir.  Deep  in  this  forest  grove  is  a bronze  figure  of 
Cupid,  the  God  of  Love,  recalling  very  graphically  the  outline  of  the  temple 
in  the  old  garden  of  Villa  Borghese,  the  Italian  home  of  Cardinal  Seipone, 
who  was  popularly  known  as  the  “delight  of  Rome”  and  one  of  the  earliest 
and  most  generous  patrons  of  Bernini. 


PLAN  WITH  BUNGALOW,  COURT,  TERRACE,  POOL  AND  PROMINENT  VIEWS 


The  sketch  gives  the  roadway  with  outer  and  inner  court  and  approach  with  steps  to  upper 
level.  To  the  right  is  the  long  terrace  facing  the  shore;  to  the  left,  the  circular  pool  with  its 
square  island,  in  the  center  of  which  tenderly  shaded  is  the  white-pillared  Temple  of  Love 


Drawing  an  imaginary  axial  line  through  the  center  of  the  Bungalow 
and  its  accompanying  terrace  scheme,  it  will  he  found  that  the  opening  of  the 
woods  upon  the  northern  side  has  been  utilized  for  a large  circular  pool  in 
which  upon  a square  island  has  been  erected  the  temple  of  love.  Of  course, 
the  temple  is  white,  hut  not  the  white  of  Italy’s  statuary  marble  nor  the 
polished  equivalent  from  some  neighboring  state,  but  following  the  prece- 
dent of  the  great  craft  workers  of  the  Renaissance,  local  materials  have  been 
exclusively  used.  It  is  of  concrete.  Not  the  grim,  prehistoric  monster  charged 
with  the  responsibility  of  maintaining  within  its  grasp  millions  of  gallons  of 
water  or  of  conveying  thousands  safely  over  a deep  abyss,  but  a concrete 


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164s 


THE  NORTH  CAROLINA  ESTATE  OF  MR.  PEMBROKE  JONES  165 


made  purposely  for  the  occasion.  And,  if  you  please,  held  here  in  suspension, 
as  it  were,  by  a skilfully  fired  clay — known  as  cement — is  a collection  of  peb- 
bles and  shells  from  the  seashore  and  the  gravel  pit,  full  of  color.  True, 
they  have  been  so  knocked  about  under  the  stress  of  things  that  their  edges 
are  rounded  and  they  know  neither  shape  nor  size,  but  the  texture  of  a col- 
umn east  with  this  material  is  exceedingly  interesting  and  is  no  little  of 
a challenge  to  the  imagination.  Here  is  once  again  the  oldest  and  the  newest 
form  of  building  material  and  when  made  in  this  peculiar  manner  one  of  the 
most  winsome  and  pleasing,  having  much  of  the  color  and  open  grain  of 
travertine  and  affording  a splendid  lodgment  for  lichen  and  moss. 

In  many  ways  the  gardener  and  engineer  have  come  to  our  rescue.  For- 
merly we  cut  down  our  trees,  now  we  move  and  replant  them.  On  many 
occasions  we  leveled  our  site  to  an  artificial  platform  and  now  we  glory 
in  the  various  little  differences  and  frankly  acknowledge  them.  Formerly 
we  dammed  our  water  courses  and  filled  or  removed  our  tiny  lakes,  now 
we  embody  them  in  the  scheme,  cleansing  them  and  reimposing  the  stone 
where  necessary  with  cement  concrete  to  offset  the  inclemency  of  the 
weather.  This  interesting  park  solves  for  11s  many  perplexing  problems  in 
a manner  that  is  new  to  many. 

Many  of  the  live  oaks  attain  considerable  height,  others  are  low  and 
broad,  their  horizontal  limbs  of  an  incredible  length,  reaching  out  in  every 
direction.  Their  dome-like  heads  contrast  pleasingly  with  the  pyramid  out- 
line of  the  Norway  pine  and  fir.  The  grove  near  the  house  and  the  sister 
grove  near  the  Bungalow  are  enriched  by  the  addition  of  magnolia  trees,  the 
blossom  of  the  camellia  and  peach  trees.  It  is  a place  of  astounding  natural 
beauty.  There  is  not  here,  however,  any  topiary  garden,  set  serious  and 
content,  a law  unto  itself,  nor  is  there  any  subdivision  of  a grove  which 
can  he  classified  as  a pleach  alley-way,  neither  is  there  any  small,  stately  par- 
terre nor  quaint  arabesque  of  box,  and  yet,  taking  a view  of  the  park  as 
a whole,  there  is  all  of  these  rolled  into  one  magnificent  picture.  The  place 
is  neither  spoiled  nor  belittled  by  foolish  subdivisions.  It  is  picturesquely 
irregular  with  a charm  as  of  a fairy  land,  and  yet  by  no  means  without  its 
majesty  when  viewed  in  a certain  light.  The  decorative  elements  which 
have  been  added  to  the  scene  are  doubtless  of  Greek  origin,  though  they 
show  obviously  the  influence  of  the  translation  of  the  Renaissance. 


166 


THE  HOUSE  OF  MR.  A.  W.  MARKWALL  AT  SHORT  HILLS,  N.  J. 

The  pride  of  this  little  knoll  is  a well-designed  homestead  far  removed  from  the  rest  of  the 
world.  Some  people  would  he  tempted  to  add  a formal  garden  to  go  with  the  formality  of  central 
feature,  endangering  its  character.  Is  it  not  better  as  it  is,  with  the  superb  trees  as  comrades? 

A Collection  of  Six  Interesting  Houses 

Designed  by  various  architects 

Illustrations  from  photographs  by  Tehhs-Hymans,  Ltd.,  and  others 


The  six  unusual  designs  here  shown,  closing  the  chapter  upon  stucco 
houses,  have  been  built  during  the  last  year  or  so  and  are  well  worthy 
a more  extended  notice  than  the  brief  caption  appearing  at  the  foot 
of  each  illustration.  They  have  been  selected  as  indicative  of  a class  wherein 
men  of  prominence  and  good  judgment  have  sought  to  serve  the  occasion 
rather  than  merely  express  themselves.  They  must  appeal  to  the  student  of 
interesting  things  because  of  their  appropriateness  to  the  ground  of  which 
they  have  practically  become  a part  as  well  as  to  their  originality. 

We  are  indebted  to  the  following  architects:  to  Albro  & Lindeberg  for 
the  unusual  house  at  the  head  of  this  page  and  the  one  opposite;  to  Bates  & 
How  for  the  pleasing  house  depicted  on  page  168;  to  Robert  R.  McGood- 
win  for  the  attractive  view  of  the  house  he  designed  for  his  own  occupation 
on  page  169;  to  Davis,  McGrath  & Kiessling  for  the  house  with  twin  porches 
on  page  170 ; and  lastly  to  Abram  Garfield,  the  son  of  the  martyred  Presi- 
dent, for  a portion  of  an  interesting  house  at  Cleveland  upon  page  171. 


167 


168 


THE  ATTRACTIVE  HOME  OF  MR.  CHARLES  E.  GARDNER  IN  LAWRENCE  PARK,  N.  Y. 

It  has  the  rocky  foreground  and  rich  herbage  which  the  New  Yorker’s  memory  is  apt  to  evoke  as  associated  with  the  upper  section 
of  the  city,  where  the  landscape  is  so  beautiful,  so  full  of  color  and  so  varying  in  texture.  The  varying  levels  give  golden  opportunities 
to  the  architect  who  has  of  late  years  accepted  the  challenge  to  his  imagination  and  skill  by  an  adjustment  of  the  ground  and  the  planting 
so  as  to  produce  a picture  within  a picture,  speaking  well  for  a more  wholesome  understanding  of  the  fascinating  art 


lf>9 


THE  HOUSE  OF  MR.  ROBERT  R.  McGOODWIN,  RECENTLY  BUILT,  AT  ST.  MARTINS,  PA. 

By  close  attention  to  detail  does  the  house  assume  problem  importance.  The  big  bays  count  for  much,  as  do  the  circular  heads  to 
the  lower  windows  and  front  entrance,  in  this  design.  Prominent  is  the  battered  stone  walling  admirably  laid  and  promising  good  rootage 
for  rock-loving  plants.  It  is  a house  of  fewer  moods  and  stronger  purposes  than  we  see  every  day,  which  bespeaks  a freedom  from  bondage 
and  from  tradition,  and  a determination  to  encourage  individual  thought  and  action.  Much  of  the  character  is  due  to  the  roofing 


170 


HOUSE  ON  STEWART  AVENUE,  GARDEN  CITY,  L.  I.,  INTERESTING  IN  MANY  WAYS 

The  treatment  of  the  twin  porches  with  their  pergola-like  roofing,  promising  serviceable  support  for  creepers,  is  sure  to  find  favor 
in  the  eyes  of  many.  Something  might  well  be  said  regarding  the  excellent  detail  of  entrance,  overhang  of  roof  and  capping  of  chimneys, 
not  only  for  the  aesthetic  importance  of  these  elements,  but  also  for  their  practical  value.  The  complexion  of  the  house  is  likely  to  undergo 
considerable  change  during  the  next  few  years,  when  the  pergolas  will  be  mantled  with  heavy  creepers,  softening  the  outline 


A COLLECTION  OF  SIX  INTERESTING  HOUSES 


171 


The  stucco  house  is  for  well-bred  people  to  whom  the  habitation  is  often 
but  an  attractive  incident  in  the  landscape  rather  than  a thing  set  apart,  glo- 
rious in  its  own  grandeur,  brave  in  its  architectural  importance  as  a superb 
creation.  The  plea  for  the  stucco  house  recalls  the  gracious  tribute  recently 
paid  to  Anatole  France,  of  whom  it  is  said  that  he  maintains  with  singular 
adroitness  and  deliberation  the  emphasis  of  under-statement.  ITe  is  content 
to  speak  of  things  in  a moderate  and  reasonable  fashion.  The  stucco  house 
is  one  that  is  rarely  burdened  with  detail,  witli  ornament  as  such  of  any 
description,  everlastingly  beautiful,  eternally  young.  With  a certain  naive 
economy  of  emphasis  it  seems  to  exhibit  an  overwhelming  desire  to  do  hom- 
age to  the  landscape  and  to  other  building  materials.  The  popularity  of  the 
stucco  house  owes  much  of  its  attraction  to  this  one  virtue.  It  has  a way 
of  adding  light  to  the 
picture.  A critic  says: 

“Commend  me  to  the 
house  of  stucco  because  it 
resembles  some  of  the 
most  hideous  men  of  mod- 
ern times  who  forget 
themselves  and  who 
charm  by  the  self -en- 
forced elimination  of  their 
own  preferences  and  who, 
declining  to  take  life  too 
seriously,  find  virtue  in 
the  opinions  and  ambi- 
tions of  others.  Such 
men  are  valued  as  com- 
rades in  this  workaday 
world.  They  shine  among 
their  fellows  not  for  their 
countenance  perhaps,  but 
for  their  tender  courtesy, 
the  deity  within.”  Is  not 
the  mountain  top  often 
brightened  1)  y a few 
square  feet  of  lime  white, 
mere  whitewash,  which  the  Cleveland  home  of  mr.  a.  s.  chisholm 

shines  like  a morning  star  View  shows  casement  openings  of  sun  parlor  adjoining 

. flower  garden.  They  are  semicircular  headed.  The  beauty  of  the 

111  tile  gTCcit  firmament  ( cornice  is  enhanced  greatly  by  translucent  shadows  of  the  foliage 


A GRACEFUL  CONTRIBUTION  TO  THE  PROBLEM  OF  LIFE  IN  THE  COUNTRY 
Upon  the  broad  flagging,  of  Chicago’s  discarded  pavement,  tubs  of  oleanders  stand  (see  page  237) 


172 


CHAPTER  II 


THE  BRICK  HOUSE 

The  Washington  house  of  Mr.  Henry  White — 'The  country  home  of  Mr.  C.  B. 
Macdonald , Southampton,  L.  /. — The  estate  of  Mr.  W.  11.  Osgood  Field,  Lenox,  Mass. 
- — The  property  of  Mr.  Thomas  Hastings,  Roslyn,  L.  I. — Mr.  James  Parmelee’s 
Washington  home — The  home  of  Mr.  Herbert  L.  Pratt,  Glen  Cove,  L.  I. — Har- 
lakenden  House,  the  home  of  Mr.  Winston  Churchill,  Cornish,  N.  II. — The  Lake 
Forest  home  of  Mr.  Finley  Harrell — Mr.  P.  S.  Theurer’s  house,  Kenilworth,  III. — 
Home  of  Mr.  R.  M.  Ellis,  Great  Neck,  L.  I. — Home  of  Miss  Emily  Watson,  White 
Plains,  N.  I". — Attractive  stables  on  the  estates  of  Mr.  Willard  I).  Straight  at  West- 
bury,  L.  I.,  and  Mrs.  L.  Z.  Letter  at  Beverly  Farms,  Mass. 

IN  common  with  men  and  women,  the  brick 
house  is  seen  at  its  best  when  the  sun  shines 
upon  it!  We  are  attracted  by  its  glorious 
color,  by  the  rich  purple  and  black  headers,  by 
the  orange  and  browny  yellow,  the  dark  sienna 
and  vermilion  stretchers,  by  the  lace-like  di- 
vision of  the  jointing,  by  the  brilliant  light  on 
the  moulding,  pillar  or  broad  band  of  Bath, 
Caen  or  Indiana  limestone.  We  love  it  when 
we  see  it  in  contrast  with  a stern  academic  ac- 
cent, a pediment  or  door  head. 

To  say  a few  words  on  its  behalf  is  like 
trying  to  do  justice  to  your  family.  Those 
who  know  anything  about  brick,  the  servant 
of  mankind  in  the  building  world,  are  as  much 
embarrassed  in  their  search  for  the  proper 
commencement  of  a description  as  they  are 
to  put  a time  limit  to  the  stuff  they  write.  I say  this  advisedly  in  view  of 
the  fact  that  almost  every  house  is  a brick  house.  True,  we  do  not  think  of 
this  Valuable  agent  as  others  do:  that  it  were  better  when  viewed  behind 
a screen  of  some  description,  and  that  a thin  veneer  of  marble  or  stone  were 
an  admirable  veiling  to  its  countenance.  We  are  thankful  to  realize  that, 
like  the  best  people,  it  bears  more  than  its  share  of  the  burdens  of  life.  We 
have  until  lately  denied  it  the  center  of  the  stage.  We  frankly  restore  to  its 
sovereignty  this  valued  material,  honoring  ourselves  in  the  restoration. 

173 


174 


THE  VIEW  OF  THE  MAIN  ENTRANCE,  WHICH  FACES  THE  NORTH,  HAS  CONSIDERABLE  CHARACTER 

The  character  is  due,  in  the  main,  to  its  position  upon  the  site  and  the  elliptical  driveway  encircling  the  fore-court  and  leading  to  the 
porch.  The  house  stands  well  above  the  city  roadways,  some  twenty  feet  above  the  level,  overlooking  in  the  distance  Meriden  Hill 


The  Washington  House  of  Mr.  Henry  White 

John  Russell  Pope,  architect 

Illustrations  from  original  drawing  and  photographs  hy  Wurts  Bros. 

VISITOR  writes:  “Washington  is  beautiful!”  Yes!  like 
Paris,  where  beauty  is  demanded  as  a national  necessity,  a 
stimulus  realized  by  everyone,  the  citizen  of  the  New  World 
responds  to  the  charms  of  the  goddess  and  is  not  at  all  times 
dominated  by  the  scramble  for  wealth.  Washington  has  been 
classified  as  the  picture  city  of  the  future.  It  is  a picture 
to-day.  L’Enf  ant’s  century-old  dream  has  in  the  main  proved  a reality 
and  the  capital  is  famous  the  world  over  for  its  wide  avenues,  dignified  and 
stately  buildings,  wherein  the  architects  of  this  favored  land  have  assimi- 
lated thoughtfully  the  best  of  the  English  and  French  versions  of  the  Pal- 
ladian  so  that  new  Washington  is  in  a way  superior  to  Paris,  London, 
Berlin  and  Petrograd,  which  are  merely  seats  of  government.  Washington 
is  to-day  entrusted,  as  it  were,  with  a new  ideal,  something  intensely  practi- 
cal and  which  involves  not  simply  architecture  hut  ethics  of  a high  order. 
We  are  told  that  the  private  residences  in  the  capital  of  the  New  World 
are  exhibiting  signs  of  a moral  improvement.  This  may  be  a surprise  to  some 
who  know  Washington  for  its  cool,  calm,  majestic  Capitol,  its  monument, 
its  freely-acknowledged  official  style  of  architecture.  It  is  not  simply  famous 
for  its  wonderful  layout,  its  academic  plan,  its  remarkable  views,  its  mag- 
nificent distances  and  its  conspicuous  freedom  from  commercial  buildings 
and  conditions  that  disturb.  As  though  hy  common  consent,  many  worthy 
citiezns  have  of  late  for  their  private  residences  avoided  adding  to  the  white 
buildings.  They  still  build  small  palaces,  very  beautiful,  very  comfortable, 
very  well  proportioned,  but  they  do  not  stick  out  or  speak  too  loudly  among 
the  congregations  crowding  the  grand  avenues.  Rather  do  they  frame  offi- 
cialdom, forming,  as  it  were,  a ring  round  the  city,  a ring  of  rich,  low-toned 
red,  buff,  dull  yellow  or  orange.  At  the  moment  there  are  houses  of  this 
type,  completed  or  under  way,  after  the  fashion  of  the  Florentine  palaces 
in  the  great  century  of  the  Renaissance.  In  plan  and  in  general  detail  they 
resemble  greatly  the  Genoese  palaces  of  the  hillside,  the  Venetian  palaces  at 
the  water’s  edge.  In  those  days  the  personal  equation  was  big  and  we  natu- 
rally recall  with  pleasure  those  most  intensely  connected  with  the  building, 


175 


176 


From  this  elevated  terrace  the  whole  panorama  of  Washington  unfolds  with  its  wonderful  distances,  its  inspiring  vistas 


THE  WASHINGTON  HOUSE  OF  AIR.  HENRY  WHITE 


I ( i 

Peruzzi,  Sanmichele,  Sansovino,  Palladio,  and  Michael  Angelo.  And  to 
Rome,  the  Eternal  City,  we  look  because  of  its  majestic  scale,  the  bigness 
of  her  buldings,  the  remarkable  reticence  and  sobriety  of  their  outlines. 
Here  was — and  many  of  them  remain — a singular  absence  of  external  orna- 
ment hut  wonderful  plans.  Her  palaces  and  villas  were  often  frankly  built 
of  brick,  red,  yellow,  orange,  brick  that  was  both  narrow  and  thin  and  brick 
that  was  short  and  wide.  Like  the  all-conquering  Romans  they  reverence 
the  common  material,  handling  it  superbly,  restoring  it  to  its  sovereignty 
in  the  great  realm  of  the  builder.  At  present  there  are  in  Washington  a 
number  of  admirable  houses,  palaces  within  and  red  brick  without,  very  hu- 
man, very  unobstructive.  They  set  a pace,  marking  a new  era,  showing  that 
those  who  have  lived  abroad  have,  from  the  land  of  ancient  courtesies,  re- 
acquired good  manners  in  matters  architectural.  And  they  owe  their  exist- 
ence to  the  energy  of  our  wide-awake,  up-to-date  architects,  to  those  who  are 
known  as  Beaux  Arts  men.  A few  years  ago  they  also,  with  others,  crowded 
the  architectural  schools  of  Paris.  Why?  Why?  Why?  It  may  well  he 
asked.  And  yet  the  answer  is  obvious.  They  were  there  to  learn  what  is 
good  and  worth  having  in  architecture.  In  other  words,  they  were  qualifying 
to  help  the  wealthy  who  have  formed  the  habit  of  spending  a portion  of  each 
year  abroad  or  of  living  abroad. 

“Professor,  after  two  years  in  the  Paris  school,  two  years  working  in 
your  private  office,  two  years  traveling  and  sketching  under  your  direction, 
I am  going  home.  What  have  you  to  say  ?”  said  a student,  thinking  that 
possibly  there  was  reserved  to  the  last  some  little  secret,  some  combination, 
some  re-presentation  of  the  old  classic  formulae  to  he  vouchsafed  as  a parting 
gift.  The  old  professor  astounded  him  by  replying:  “Forget  all  that  you 
have  learned,  all  that  you  have  seen,  all  that  you  have  heard.  Attack,  when 
you  return  to  your  own  land,  the  problems  as  they  arise,  viewing  them  from 
your  own  standpoint.  Use  your  lessons  as  equipment,  not  models.  Your 
country  is  wealthy,  but  it  Rings  its  wealth  too  freely  in  the  face  of  the  pub- 
lic. Not  content  with  a palace  within,  it  would  have  a palace  without,  piling 
up.  So  misplaced,  wealth  is  despised  and  architecture  too  often  ridiculed. 
In  the  best  of  the  minor  palaces  and  villas  of  Rome  is  there  a standard  by 
which  you  can  go?  Beauty  resides  there.  Many  of  the  little  places  are  small 
in  their  inches,  mellowed  in  their  appearance,  hut  ever  worthy  of  sincere 
regard.  They  are  like  a beautiful  woman  known  for  her  charm,  not  for 
the  style  of  her  head-dress.  Styles  in  head-dress  change  over  night; 
houses  live  forever  and  the  man  is  known  by  the  house  as  he  is  by  the  com- 
pany he  keeps.” 

As  everyone  realizes,  there  are  just  two  things  to  consider  in  the  build- 


178 


A HALL  WITH  THE  CALMLY  CORRECT  PROPORTIONS  OF  THE  IONIC,  NORTHERN  LIGHT  AND  MARBLE  PAVEMENT 
An  antechamber.  To  everyone  it  is  of  interest,  whether  as  a momentary  abiding-place  or  as  a passageway  to  the  innermost  circle 


THE  WASHINGTON  HOUSE  OF  MR.  HENRY  WHITE 


179 


ing  of  a country  house,  the  site  and  the  architect.  Of  course  money  is  de- 
sirable, not  too  much  of  it  nor  too  evident,  and  the  personality  of  the  owner 
has  been  known  to  transmit  qualities  unattainable  by  architectural  propor- 
tions. 

It  is  as  a setting  for  the  Henry  White  house  at  Washington  that  I 
have  ventured  to  speak  in  this  way.  It  is  just  the  kind  of  house  we  need  as 
a standard.  To  the  full  surely  has  money  been  expended  upon  the  exteriors 
of  private  residences  in  New  York  and  elsewhere.  There  are  some  horrors 
in  this  city  of  towers  and  bridges,  where,  by  virtue  of  its  prominence  as  a 
utilitarian  metropolis,  a palace  should  stand  for  high  thinking  and  he  unas- 
suming in  general  appearance.  So  say  the  sociologists.  It  is  delightful  to 
feel  that  the  picture  city  sets  a new  pace,  is  more  conscious  of  the  modern 
appeal.  The  White  house  has  been  forced  into  prominence  by  an  unusually 
attractive  site  of  which  the  most  has  been  made.  Topographically  it  is  of  pe- 
culiar interest.  Part  of  it  is  twenty  feet  above  the  level  of  the  city  streets. 
There  is,  in  the  approach,  a certain  dignity  and  well-ordered  artificiality 
which  is  inevitable  and  desirable.  In  general  the  house  and  the  site  resem- 
ble greatly  the  town  houses  of  many  of  the  aristocracy  of  Italy  and  France. 
It  varies  hut  little  in  its  inches  from  a portion  of  ground  set  apart  by  Louis 
XV  for  the  Petit  Trianon.  It  resembles  in  many  ways  the  Florentine  pal- 
aces. The  plan  is  excellent  in  measurement  and  general  arrangement  of 
rooms.  It  appears  to  be  somewhat  of  a reminiscence  of  Villa  Farnesina, 
built  on  the  outskirts  of  Rome  from  the  designs  of  Peruzzi  for  a Roman 
banker.  The  detail  recalls  much  of  the  delicacy  and  charm  of  the  palace 
Massimi,  also  in  the  Eternal  City.  The  White  house  is  located  well  at  the  far 
side  of  the  property,  permitting  a dignified  aproach  by  means  of  a circui- 
tous driveway  cut  deeply  into  the  bank.  This  plan  permits  a fore-court,  a 
stately  element  of  aristocratic  luxury.  The  natural  level  remains  undis- 
turbed; the  big  trees  are  in  no  way  damaged.  The  central  portion  is  let  se- 
verely alone,  bordered  with  hedging.  The  roadway  is  very  effective.  It  is  a 
stately  entrance  though  exceedingly  quiet  in  detail,  with  just  sufficient  accent 
to  add  interest  to  vouchsafe  personality  and  distinction.  On  the  southern 
side  of  the  house  there  is  an  equally  notable  feature,  an  exalted  terrace  held 
in  place  by  a high  retaining  wall.  Here  the  great  panorama  of  Washington 
unfolds,  a splendid  picture.  Surely  this  walled  garden  is  enjoyed  to  the  full. 
Upon  it  stands  the  long  southern  loggia  from  which  the  dining-room  and  li- 
brary open.  Ruskin  wrote  that  the  finest  decoration  for  a dining-room  was  a 
well-cooked  dinner.  Here  is  a feast  for  the  gods,  day  or  night,  forever 
changing,  ever  stimulating,  forever  satisfying.  What  a place  for  a prome- 
nade, for  conversation,  for  a siesta!  The  accent  to  the  northern  frontage,  the 


T 


180 


THE  dining  room,  splendidly  contrived  for  entertaining,  opens  on  loggia,  library  and  hall 

It  is  furnished  with  Chippendale  mahogany  of  the  time  when  Oriental  enrichments  were  adapted  by  that  resourceful  craftsman 


THE  WASHINGTON  HOUSE  OF  MR.  HENRY  WHITE 


181 


entrance  side,  is  the  portico,  which  is  classic  in  a way  and  yet  which  might 
well  have  been  designed  by  Gabriel,  the  architect  of  the  Petit  Trianon. 
Whether  viewed  in  plan,  in  elevation  or  perspective  it  is  full  of  subtle  charm 
and  little  surprises.  Delightfully  does  it  open  into  the  central  hall  and 
well  does  it  stand  free  and  clear  from  the  frontage,  an  accent  of  peculiar 
interest. 

Within,  the  spirit  of  restraint  is  very  obvious.  The  plan  is  direct,  the 
circulation  excellent,  the  scheming  satisfactory.  From  the  entrance  hall  the 
house  opens  up  well,  direct,  and  the  color  sense  is  entertained  by  the  general 
melodious  palette  in  which  no  particular  tone  has  the  ascendancy.  Of  course 
the  salon  and  the  little  green  parlor  are  distinctly  feminine  with  furniture 
that  is  usually  found  in  the  minor  palaces  of  the  French  kings  and  yet  very 
unassuming  in  its  arrangement. 

As  a whole,  taking  the  inside  and  the  outside  of  the  house,  its  first  and 
its  last  appearance,  its  color  note,  its  plan,  its  detail,  its  view  from  the  front, 
from  a distance  or  from  nearby,  it  is  the  house  of  a man  primarily,  distinctly, 
unmistakably  a man  of  this  world,  conscious  of  its  limitations,  its  ambitions, 
its  triumphs.  In  no  sense  is  it  a reproduction.  Rather  is  it  a type  of  modern 
reassimilation  of  the  good  which  has  gone  before.  So  adroit  is  this  reassimila- 
tion  that  no  one  can  say  where  one  incentive  begins  or  the  other  leaves  off. 
Like  a piece  of  literature  or  a beautiful  musical  cadence  no  one  can  tell  the 
source  of  the  inspiration,  and  he  is  the  wisest  who  takes  it  as  a whole  and  is 
glad  to  have  so  excellent  a standard  by  which  to  measure  himself  and  the 
houses  around  him. 

Not  only  is  the  White  house  built  of  brick  well  and  truly  laid  with  stone 
trimmings  and  enrichments,  but  brick  is  also  the  interlacing  decorative  accent 
as  well  as  the  structural  material  of  the  George  IT.  Meyers  and  the  John 
R.  McLean  residences  as  it  is  of  the  house  of  Thomas  Nelson  Page,  the  new 
Ambassador  to  Italy.  Yes,  as  the  visitor  writes,  Washington  is  beautiful. 
Possibly  one  of  the  great  agents  for  its  beauty  is  the  consistency  which  is  so 
melodious  a keynote  among  the  recent  buildings  of  that  city  of  pictures.  “I 
like  to  think,”  writes  this  visitor  who  speaks  of  Washington  as  a beautiful 
city,  “that  in  this  ever-broadening  of  the  great  spirit  of  public  service  and 
private  worth  he  is  the  best  citizen  who  realizes  to  the  full  the  possibilities  of 
the  common,  everyday  material,  the  material  at  hand.  It  is  of  this  that  the 
greatest  buildings  and  the  greatest  characters  of  the  Renaissance  were  cre- 
ated by  men  whom  we  to-day  classify  as  architects  or  ambassadors.  They 
gloried  in  the  commonplace!  They  ennobled  it  in  their  naive  transforma- 
tion.” 


182 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


The  accompanying  plan  of  the  property  cannot  fail  to  interest  because 
it  is  so  unusual  in  outline,  in  outlook  and  in  approach.  It  is  one  of  those 
properties  that  stand  high ; which  tower  over  the  neighborhood,  in  a measure. 


THE  SKETCH  PLAN  OF  PROPERTY  IS  BOTH  INTERESTING  AND  INFORMING 

It  shows  the  elliptical  driveway  to  entrance,  rising  many  feet  above  main  road  and  gives  some- 
thing of  the  treatment  of  Belmont  Street  frontage  with  the  terrace  from  which  so  much  of  the 
city  is  visible,  the  planting  scheme  and  location  of  some  of  the  principal  rooms  of  the  house 


The  elevated  position  lias  much  to  do  with  the  whole  scheme.  May  I ask 
you  to  examine  the  plan?  Examine  it  from  the  north  and  the  south;  think 
of  its  varying  level.  There  is  an  elevation  of  some  twenty-odd  feet  between 
the  porch  and  the  roadway.  The  sketch  shows  the  central  axe  of  the  house 
and  also  gives  no  little  explanation  of  the  view  from  the  terrace,  and  taken 
with  the  other  picture  it  reveals  many  little  things  hard  to  explain  in  the 


THE  WASHINGTON  HOUSE  OF  MR.  HENRY  WHITE 


183 


ordinary  way.  From  it  we  learn  that  A indicates  the  central  hall  and  B the 
little  reception  room.  C is  the  drawing  room  and  D that  center  of  things 
hospitable  and  convivial  which  is  generally  understood  by  the  magic  word — 
dining-room.  Opening  upon  the  loggia  and  terrace,  it  permits  a splendid 
view  of  the  city.  E is  the  study  or  library  and  F the  inner  staircase  hall, 
set  apart,  out  of  sight,  away  from  the  entrance,  yet  ever  convenient.  G is 


THE  RECEPTION  ROOM  OPENS  FROM  HALL  AND  LIBRARY 

An  engaging  center  of  things  feminine  with  gracefully  designed 
furniture  so  unmistakably  French,  and  wall  covering  of  myrtle  green 
damask,  a cool  tone  of  which,  like  forest  green,  we  never  tire 


the  entrance  porch  and  H the  long  loggia.  This  many-columned  loggia  is 
a picture  gallery,  showing  the  city  and  its  life  from  a new  vantage  ground. 
The  plan  also  shows  the  service  quarters — essential  and  ever-important  con- 
trivances that  add  so  much  to  our  comfort  but  that  are  too  often  left  to  our 
imagination,  where  they  hold,  indeed,  a large  place;  too  often,  however,  they 
are  conspicuous  hv  their  absence  in  real  life. 


184 


Mr.  C.  B.  Macdonald’s  Home,  Southampton,  L.  I. 

F.  Burrall  Hoffman,  Jr.,  architect 
Rose  Standish  Nichols,  garden  architect 

Illustrations  from  original  drawing  and  photographs  by  Floyd  Baker 


UST  now  the  Georgian  style  is  very  much  in  vogue  and 
this  period  of  the  latter  Renaissance,  the  Renaissance  of 
England,  is  indeed  welcome  here.  Within  its  make-up  is 
something  more  potent  than  the  rebirth,  the  reassimilation  of 
classic  proportions  as  translated  by  France,  Italy,  or  any 
section  of  Southern  Europe,  for  into  the  Renaissance  of 
England  went  the  clarifying  influence  of  English  opinion  and  of  English  re- 
straint as  well  as  the  obvious  realization  of  the  daily  requirements  of  the 
English.  In  other  words,  the  Reformation  left  its  mark  across  the  face  of 
every  house  or  hall,  church  or  palace  built  at  that  time.  It  is  primarily  a 
common-sense  style  of  a self-respecting  people.  Much  of  the  culture,  the 
refinement  of  the  Italian  as  generally  understood,  with  its  stateliness,  quiet 
dignity,  breadth  and  repose,  is  preserved,  as  also  is  the  personal  note  of  the 
great  architects  of  the  English,  who  benefited  by  Continental  study.  The 
personality  of  Inigo  Jones  and  Sir  Christopher  Wren  and  their  school  is 
obvious.  An  informal  copartnership  of  owners  and  architect  lias  done  much 
to  spell  wholesomeness  and  to  induce  the  architect  to  extract  more  character 
from  his  material,  giving  more  homage  and  attention  to  outline,  proportion 
and  workmanship  than  to  ornament.  This  led  to  an  extended  study  of  plain 
spaces  as  well  as  of  carving,  such  as  the  work  of  Grinling  Gibbons,  Ripley 
and  their  school — a splendid  school  of  craftsmanship,  proud  of  their  individ- 
ual trade.  And  more  potent  than  this  skill  in  wood-carving  was  the  atten- 
tion bestowed  upon  plastering,  upon  the  manipulation  of  iron  and  upon 
brickwork.  Enforced  economy  made  the  frequent  use  of  marble  difficult, 
at  times  impossible,  and  it  improved  greatly  the  manufacture  of  brick, 
which  was  so  made  that  it  could  be  carved,  rubbed,  and  moulded.  In  a word, 
the  quickening  and  vitalizing  influence  of  the  Georgian  style  which  is  in 
vogue  just  now  is  welcome  because  it  exhibits  so  splendidly  the  right  use 
of  plain,  everyday  materials. 

Mr.  C.  R.  Macdonald’s  house  at  Southampton,  standing  on  an  elevated 
site  overlooking  Peconic  Bay  and  the  National  Golf  Course,  owes  much  of 


185 


186 


AT  THE  END  OF  THE  HOUSE  IS  THE  GARDEN,  ALREADY  RICH  IN  COLOR  AND  VERY  INTERESTING 
A low  walling  shelters  it  from  the  wind  and  permits  the  sun  to  vitalize  the  flowers  and  evergreens.  It  is  a garden  for  all  seasons 


MR.  C.  B.  MACDONALD’S  HOME,  SOUTHAMPTON,  L.  I. 


187 


its  general  proportion  and  idea  to  one  of  the  English  halls  built  in  the 
time  of  the  first  George  and  there  is  documentary  evidence  that  the  owner 
of  Groombridge  Place,  Kent,  consulted  Wren  regarding  the  design,  and 
consulted  him  at  a time  when  he  was  at  the  height  of  his  career. 

The  house  is  well  planned  to  fit  the  site.  It  is  one  of  those  long,  low, 
red  brick  houses  which  open  up  well  from  a central  hall.  The  hall  in  this 
ease  is  a room,  big  and  comfortable.  It  gives  to  the  visitor  a hearty  wel- 
come and  splendid  impression.  Probably  few  people  realize  the  force  of  this 
Georgian  planning,  this  liberal  treatment  of  spaces  subdividing  the  block 
of  the  house  into  big,  square  rooms  rather  than  passageways.  It  is  so 
adjusted  to  the  site  as  to  invite,  from  its  many  windows,  a frequent  view  of 
the  distance,  a stimulating  enjoyment  of  the  landscape.  From  the  hall  the 
library  is  reached  with  its  segmental  bay.  Casements  open  upon  the  grass 
terrace,  a splendid  open  area  as  deep  as  the  house  is  wide  and  which  is  united 
with  the  house  by  a long,  low,  stone-capped  wall.  This,  in  varying  heights, 
also  encircles  the  gardens,  tying  everything  together.  It  is  from  this  westerly 
terrace,  down  a flight  of  semicircular  steps,  that  the  meadow  is  reached, 
from  which  the  most  satisfactory  view  of  the  western  frontage  is  possible. 
It  is  indeed  a long,  low  house,  with  all  its  exalted  roof  and  its  massive,  well- 
formed  chimneys  and  its  dormers.  The  idea  of  length  is  increased  greatly 
by  its  projecting  cornice  and  eaves  and  by  the  deep  band  of  stone  which  runs 
the  entire  length  as  if  noting  the  height  of  the  principal  rooms.  Here  also 
in  the  center  of  the  gable  is  a segmental  iron  balcony  reached  by  the  case- 
ments of  the  principal  chambers.  Tbe  length  is  also  greatly  increased  by  the 
coping  and  base  to  the  terrace  wall,  long  horizontal  lines  which  count  for 
much.  The  brick  rusticated  quoins  at  the  corners  add  interest,  as  do  the 
white  window  frames,  which  are  unusually  wide,  another  Georgian  accent. 

Returning  to  the  central  hall,  it  will  be  noted  that  the  upper  section  of 
the  house  is  reached  by  a liberal,  well-proportioned  stairway  with  iron 
balustrading,  delicate,  thin,  yet  strong  and  sufficient.  There  is  here  a stimu- 
lating seriousness.  A faint  memory  of  the  Ionic  order  projects  slightly 
from  the  wall  with  its  entablature,  cap  and  base  and  the  memory  of  Italy’s 
cool  and  calm  pavement.  The  design  is  excellent.  Alternating  squares  of 
black  and  white  marble  are  in  themselves  an  essay  on  gentility.  It  is  by 
no  means  grand  or  forbidding,  for,  as  the  view  shows,  across  its  checkered 
countenance  rugs  extend  a wealth  of  color. 

The  drawing-room  is  the  big  room  of  the  house.  It  runs  east  and  west, 
opening  directly  from  the  entrance  hall  and  from  the  grass  terrace.  It  is 
also  reached  from  the  sun-parlor,  which,  in  turn,  centers  with  and  is 
practically  a part  of  the  garden.  The  panelling  is  of  birch  stained  a red- 


188 


THE  DRAWING-ROOM  IS  WALLED  WITH  BIRCH  OF  A REDDISH  BROWN  AND  DRAPED  WITH  RED  BROCADE 


MR.  C.  B.  MACDONALD’S  HOME,  SOUTHAMPTON,  L.  I. 


189 


dish  brown  and  the  windows  are  draped  with  taffeta  of  a color  not  unlike 
the  red  of  the  tomato  or  old-rose.  Relieving  the  formality  of  the  panelling, 
mirrors  are  hung,  the  frames  of  which  are  diversified  in  outline  and  very  in- 
teresting. Mirrors  have  also  proved  of  service  in  the  hall,  but  the  frames  in 
this  case  are  even  more  free  in  their  drawing,  bearing  as  they  do  a festive 
air  as  if  conscious  of  the  vanities  and  frivolities  of  the  age. 

Considerable  attention  is  given  to  the  underlying  spirit  of  the  English 


THE  PRINCIPAL  ACCENT  OF  THE  HOUSE  IS  THE  HALL 
With  its  Ionic  pilasters,  wrought-iron  balustraded  staircase  and  black  and  white  marble  paving 


form  of  country  house.  It  is  to  he  seen  not  only  in  the  selection  of  marble 
as  the  pavement  of  the  hall,  one  of  the  most  effective,  satisfactory  and 
serviceable  forms  of  interior  decorations  the  Georgian  period  devised,  hut 
will  also  he  be  recognized  in  the  design  of  the  drawing  room,  which  by  its 
broad,  wholesome  wainscoting,  its  liberal  hearth  and  its  rich  color,  discloses 
the  keen  appreciation  of  the  cool  evenings  of  the  autumn,  when  an  open 
fire  is  a delight.  In  other  words,  this  drawing  room  is  not  a toy  parlor 
for  the  frivolities  of  city  life,  looking  to  an  apartment  as  a setting  for  fan- 
tastic costumes,  singularly  out  of  place  in  the  country.  No.  This  is  a 
Long  Island  parlor,  open  to  the  vicissitudes  of  that  ever-changing  and  law- 


190 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


defying  weather  characteristic  of  its  position  overlooking  the  bay,  influenced 
directly  by  the  salt-laden  air,  which,  as  everyone  knows,  plays  havoc  with 
delicate  decorations.  The  sun-parlor  is  an  interesting  apartment  with  its 
pavement  of  English  tiles  of  a mottled  brown  tone,  having  upon  the  east- 
ern and  western  sides  large  easements  opening  to  the  floor  and  yet  larger 
windows  overlooking  the  garden.  The  only  wall  surface  is  accented  by  a 
recessed  fountain,  prettily  schemed  and  very  active  in  its  effort  to  cool  the 


PLAN  OF  PART  OF  PROPERTY  WITH  DRIVEWAY  TO  CIRCULAR  ENTRANCE  COURT 

The  principal  rooms  are  indicated,  the  servants’  quarters,  the  extended  view  across  the  valley 
from  the  main  terrace,  the  upper  and  lower  gardens,  which  are  enclosed  with  a brick  wall 


air,  adding  to  the  scene  a delicate  sense  of  movement  and  sparkling  light. 
It  is  well  named.  Literally,  it  is  dedicated  to  the  fullest  enjoyment  of  the 
sun.  It  is,  so  to  speak,  an  outdoor  room,  and  yet  but  a step  from  the  broad 
open  hearth,  which  cannot  fail  to  he  the  center  of  attraction  when  the  au- 
tumnal storms  are  driving  everyone  indoors. 

The  study  of  the  original  plan  and  accompanying  sketch  shows  A to 
indicate  the  position  of  the  library,  opening  upon  terrace,  from  which  we  get 
an  engaging  view  across  the  valley  over  the  sand  dunes  to  the  sea,  stretch- 


MR.  C.  B.  MACDONALD’S  HOME,  SOUTHAMPTON,  L.  I. 


191 


ing  even  to  the  distant  horizon.  This  view  is  facilitated  greatly  by  the  broad 
segmental  hay  with  its  three  wide  casements  opening  to  the  floor.  B shows 
the  position  of  the  large  drawing-room  leading  into  the  sun-parlor,  marked 
C,  opening  upon  the  southern  end  of  terrace  approach  to  the  walled  garden. 
D is  the  entrance  hall,  the  general  center  and  important  axis  of  the  house  as 
schemed,  while  E is  the  dining  room.  F is  the  little  reception  room  opening 
from  a private  hallway,  with  G,  the  golf  room,  adjoining.  The  cross-hatched 
section  indicates  the  service  quarters.  H is  the  garage  and  stable  almost  out 
of  sight  among  the  trees  and  well  below  the  broad  shoulder  of  the  hill,  yet 
reachable  by  a service  roadway  of  its  own. 

From  the  terrace  we  descend  into  the  walled  garden.  It  is  in  two 
sections,  with  a variation  of  a few  feet.  The  wall  is  not  only  for  seclusion, 
but  for  shelter  from  the  wind.  The  upper  garden  is  planted  almost  entirely 
with  evergreens,  except  for  a belt  of  herbaceous  plants  bordering  the  wall,  so 
that  this  section  appears  equally  interesting  in  winter  and  in  summer.  The 
lower  section,  or  flower  garden  proper,  approached  by  a number  of  broad 
steps,  would  be  entirely  open  to  the  sun  were  it  not  surrounded  by  an  old- 
fashioned  English  arbor,  covered  with  grapevine,  which  furnishes  shade  to 
the  walk  on  all  four  sides.  The  planting  consists  mainly  of  old-fashioned 
annuals  and  perennials,  accented  by  standard  roses  and  lilacs,  but  without 
bedding  plants,  which  require  the  protection  of  a green-house. 

Yes,  just  now  the  Georgian  style  is  very  much  in  vogue  and  this 
period  of  the  later  Renaissance  of  England  is  indeed  welcome.  It  appeals 
to  our  robust  citizens  by  the  sturdiness,  the  wholesomeness  of  its  make-up.  It 
is  a man’s  style,  that  is,  a man’s  conception  of  a house  far  and  above  the 
frivolities  of  fashion,  the  mere  fantastic  encasement  of  fancies  which  change 
overnight!  It  is  a style,  that  is,  which  while  permitting  certain  feminine  in- 
dulgences is  forever  observant  of  essentials,  splendidly  dictatorial,  excel- 
lent to  live  with,  superbly  indifferent  to  trivialities,  assigning  to  inanimate 
objects  human  emotions  and  appearing  at  times  to  he  jealous  of  inane 
foibles,  bric-a-brac.  The  welcome  of  this  style  is  hearty,  coming  about  as  it 
does  in  the  ordinary  course  of  things,  when  the  American  citizen  has  at  last 
realized  that  in  order  to  make  real  and  healthy  progress  in  the  world  of 
affairs  social  or  financial,  he  must  assign  to  each  day  something  for  the  wel- 
fare of  his  body.  So  it  is  contrived  and  planned,  fitting  not  alone  the  site 
hut  the  life  of  the  owner  who  loves  games  and  who  enjoys  sports. 

This  Southampton  house,  overlooking  Peconie  Bay  and  far  beyond,  is 
of  the  style  adopted  by  a good  healthy  man  who  knows  what  he  likes,  who 
does  not  change,  who  realizes  slowly,  perhaps,  hut  definitely  the  style  of  house 
he  wants  for  the  woman  he  loves. 


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192 


Mr.  W.  B.  Osgood  Field’s  Home,  Lenox,  Mass. 

Delano  & Aldrich,  architects 

Illustrations  from  original  drawing  and  photographs  by  Thomas  Ellison 


ONDNESS  for  large  schemes,  whether  in  the  field  of  politics 
or  finance,  the  world  of  industrial  triumphs  or  social  vic- 
tories, is  one  of  the  characteristics  of  America’s  endeavors. 
It  is  in  the  air.  Our  canvas  must  be  large,  yes,  but  it  must 
be  clean.  We  like  to  bite  off  big  pieces.  The  susceptible 
worth-while  worker  is  gloriously  entertained  by  tasks  that 
challenge  his  skill,  he  it  the  composing  of  a madrigal  or  the  locating  of  a 
staircase  or  a main  axis  to  an  architectural  theme,  the  telling  of  a simple 
story  in  a direct,  wholesome  fashion,  or  the  adjustment  of  levels,  the  selec- 
tion of  a healthy  position  for  a garden,  or  the  rendering  of  a sonata.  The 
up-to-date  architect  realizes  to  the  full  the  danger  of  overdoing  things,  the 
importance  of  accent  and  of  self -elimination.  This  is  one  of  the  promising 
signs  of  the  times,  for  about  all  of  this  work  there  is  to-day  a brightness 
and  delicacy  of  touch,  a gaiety  of  expression  which  savors  somewhat  of  an 
older  civilization  on  which  has  been  grafted  the  demands  of  our  time  and 
age.  Look,  for  instance,  at  Newport  and  Washington,  at  the  suburbs  of 
Chicago  and  of  San  Francisco,  and  remember  the  stimulating  lesson  which 
lingers  still  in  New  England  among  the  larger  properties  in  the  vicinity  of 
Lenox,  where  the  moral  leaven  of  the  locality  exercises  influence. 

The  problem  confronting  the  architects,  Delano  & Aldrich,  in  planning 
the  home  of  Mr.  W.  B.  Osgood  Field  at  Lenox,  Mass.,  crystallized  into  a 
brief  sentence,  was  how  best  to  make  the  most  of  the  site.  I can  well  im- 
agine owner  and  architect  standing  on  the  elevated  plateau  which  for  years 
has  been  visited  by  thousands  for  its  peculiar  charm  and  its  remarkable 
beauty.  Here  the  long  valley  towards  Stockbridge,  and  the  other  equally 
prominent  approach  to  Tyringham,  could  be  enjoyed  to  the  full.  Of  course 
the  view  must  be  preserved.  I can  hear  the  owner’s  stimulating  insistence 
for  the  preservation  of  this  center  of  his  picture.  It  might  be  framed,  art- 
fully led  up  to  by  long  avenues  of  trees,  but  it  must  not  be  encroached 
upon  ruthlessly,  nor  must  the  house  be  so  added  to  the  property  as  to  be 
a challenge  to  the  landscape.  Those  who  cherish  among  their  personal 
qualifications  so  intimate  and  creditable  an  element  as  the  appreciation  and 


193 


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194 


VIEW  SHOWING  THE  FRONT  ENTRANCE  FROM  COURT  AND  THE  CARRIAGE  ENTRANCE  ON  TERRACE  LEVEL 
To  get  a fair  understanding  of  this  entrance  it  were  best  to  examine  the  plan.  The  terrace  is  reached  by  a runway  from  the  main  drive 


195 


TEA-HOUSE  WITH  SUSPENDED  DOMELIKE  CANOPY,  A FANTASTIC  MEMORY  OF  CLASSIC  TIMES 


196 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


fondness  for  the  designs  of  Italy’s  big  garden  schemes  and  for  those  of 
England,  which  have  been  founded  upon  the  same  general  ideals,  will  real- 
ize just  how  hard  a task  this  was. 

The  picturesque  little  sketch  plan  shows  how  faithfully  the  architects 

hat^e  worked  to  one  defi- 
nite end,  how  artfully  they 
liaAre  beshadowed  a portion 
of  the  great  field  by  the 
proper  planting  in  stately 
rows  of  elm  trees  very 
much  after  the  fashion  of 
the  stately  avenues  of 
France  which  ha\re  out- 
lived a thousand  political 
vicissitudes  and  still  domi- 
nate the  main  axis  of  the 
noble  chateau.  In  other 
words,  they  have  done  ex- 
actly what  Le  Notre  and 
Le  Brun  or  any  other  of 
the  fine  French  designers 
would  have  done.  And 
then  they  haAre  left  a whole 
lot  of  property  seA^erelv 
alone.  In  the  central 
formal  court  has  been 
placed  an  ornamental  lake, 
or  swimming  pool,  outlined 
with  flowers  and  balustrad- 
ing  of  marble  and  enriched 
at  the  far  end  with  a 
fountain  approached  by 
bridges,  somewhat  after 
the  fashion  of  Ranieri’s 
hunting  lodge  at  Bagnaia, 
known  as  Villa  Lante.  The  house  is  set  back  somewhat  at  the  other  end 
of  the  court  and  is  approached  through  native  woods  which  are  thick  and 
diversified  in  outline.  It  is  somewhat  stately  in  mien,  just  a little  remind- 
ing us  of  England’s  best  period  of  domestic  architecture,  thoughtfully  ad- 
justed to  the  immediate  needs  of  the  family.  Look,  for  an  instance,  at  the 


SKETCH  PLAN  OF  A FART  OF  THE  PROPERTY 

The  general  arrangement  of  things  is  here  very  vividly 
told.  Perhaps  the  most  striking  feature  is  the  remarkable 
driveway  approach  to  the  terrace  main  entrance 


MR.  W.  B.  OSGOOD  FIELD’S  HOME,  LENOX,  MASS. 


197 


location  of  the  main  room,  marked  in  the  plan  by  the  letter  B,  with  its  accom- 
panying terrace  ( E ) . D locates  the  library  and  C the  dining-room.  F desig- 
nates the  little  antechamber  through  which  the  flower  garden  is  reached,  with 
its  sheltered  arbor  ( K ) . The  entrance  court  has  been  well  contrived.  On  the 
left  is  the  playhouse  for  the  children  (H),  on  the  right  will  be  seen  a cor- 
responding building  also  flanking  the  main  drive  and  part  of  the  service 
wing,  the  laundry  (I),  with  its  drying  yard,  hidden  behind  a semicircular 
wall.  The  service  court  is  well  concealed  with  its  own  entrance  drive.  At 
the  termination  of  the  long  pergola  is  a very  original  tea-house,  the  canopy 
of  which  rises  from  a dome,  circular  in  plan,  carried  by  good  liberal  posts, 
a fantastic  memory  of  classic  times. 

To  say  the  house  is  of  brick  with  stone  dressings  would  be  superfluous 
did  we  not  see  on  examining  closely  other  testimonies  to  the  peculiar  charm 
of  the  building,  for  stone  also  appears  as  the  material  expression  of  certain 
agricultural  scenes  over  the  window  openings,  paying  their  liberal  homage  to 
the  neighborhood.  In  low  relief  panels  appear  over  the  window  heads  to 
the  main  rooms. 

Here  the  laborer  will  he  seen  toiling  industriously.  Severe  of  outline, 
the  scene  is  full  of  grandeur  and  serenity.  The  haymaker  is  disclosed  as, 
wearied  with  work  accomplished  under  the  ardent  sun,  he  rests  momentarily. 
Other  workers  portray  other  phases  of  modern  farm  life  in  which  oxen  ap- 
pear. The  woodsman  is  grubbing  up  roots  of  the  forest.  For  the  composing 
of  these  pastoral  panels  the  owner  is  indebted  to  the  inventive  genius  of  Airs. 
Harry  Payne  Whitney.  Yes,  the  realm  of  architecture  has  its  wonderful 
friendships,  its  golden  opportunities  for  neighborly  kindliness  and  good  feel- 
ing. The  whimsical  dame  demands  forever  allegiance  from  the  most  exalted 
and  the  most  humble. 

Now  that  there  is  so  much  pleading  for  education  through  work  by 
means  of  actual  illustration,  many  people  will  doubtless  strive  to  acquire 
information  of  the  way  of  doing  things,  in  a large  fashion,  by  seeing  what 
their  friends  do.  Look  at  this  plan  of  the  layout  of  a property.  It  is  not 
an  academic  thesis,  hut  a practical  presentation  of  one  method  of  enriching, 
we  may  say  ennobling,  a property  that  has  recently  been  referred  to  as  one 
of  the  most  satisfactory  schemes  yet  carried  out  in  our  neighborhood  and 
day.  On  many  occasions  does  the  architect  have  setting  ready  made  for  him. 
He  simply  ejects,  as  it  were,  his  new  building  into  an  old  setting,  with  a re- 
sult that  is  highly  satisfactory  and  cannot  very  well  be  anything  else.  On 
this  occasion,  however,  the  architects  have  had  to  make  their  own  background, 
be  their  own  planter,  dealing  with  the  estate  as  a whole.  In  a word,  they 
have  had  to  concern  themselves  with  many  things  difficult  to  classify. 


THE  DETAIL  OF  THE  FRONT  ENTRANCE  WITH  ITS  INTERESTING  DECORATION 
The  portal  is  graceful.  An  interlacing  arabesque  decoration  in  color  adds  interest  to  vault  overhead 


198 


Mr.  Thomas  Hastings’  Home  at  Roslyn,  L.  I. 

Thomas  Hastings,  architect 

Illustrations  from  original  drawing  and  photographs  by  William  H.  Crocker  and  Aime  Dupont 


ERE,  in  the  birthplace  of  William  Cullen  Bryant’s  “Thana- 
topsis,”  we  find  the  home  of  another,  swayed  by  the  love  of 
the  beautiful,  the  ideal.  So  closely  is  the  house  of  Mr. 
Thomas  Hastings  snuggled  up  to  the  native  woods  near 
Roslyn,  L.  I.,  that  it  is  well-nigh  impossible  to  get  an  unin- 
terrupted view  of  the  southern  frontage.  We  have  to  dodge 
under  the  great  oaks  on  the  terrace  to  see  it  at  all  in  certain  lights.  It  is 
some  few  years  since  Mr.  Hastings  built  his  first  house  in  the  woods  of  Roslyn. 
It  was  destroyed  by  fire  two  years  ago  and  the  present  house  is  a rebuild- 
ing with  some  slight  changes,  hut  the  original  plan  remains  intact.  The 
house  is  made  a little  longer  by  the  addition  of  two  porches,  one  on  the 
east  and  the  other  on  the  west  side.  The  long  alley-way  of  linden  trees, 
possibly  the  most  successfully  trimmed  linden  alley-way  in  this  section  of 
the  country,  the  ivy-covered  walling  upon  the  other  side  of  the  court  and  the 
big  oaks  on  the  terrace  fortunately  remain  unimpaired  by  the  fire.  The  loggia 
decorations  have  been  changed  and  repainted.  The  walls,  seriously  dam- 
aged, had  to  be  pulled  down  and  rebuilt.  It  is  interesting  to  see  that  there 
is  not  any  serious  change.  The  plan  remains.  It  was  found  to  be  workable 
and  comfortable.  It  will  always  be  remembered  as  the  house  which  an  archi- 
tect built  for  himself.  It  is  built  in  the  woods  without  any  remarkable 
view  of  the  distance.  The  house  is  adapted  to  the  trees.  It  is  found,  by 
careful  study  of  the  property,  that  a long,  open  vista  opens  through  the  center 
of  the  estate.  It  is  this  natural  opening  which  has  been  accepted  as  the 
axial  line.  In  a general  way,  the  court  runs  northeast  and  southwest,  and 
along  that  exposure,  the  outline  of  which  the  setting  sun  illumines  so  won- 
derfully, is  a retaining  wall,  some  eighteen  feet  in  height. 

“The  appropriation  for  a house  should  be  divided  into  two  equal  parts, 
one-half  for  the  house,  the  other  for  the  gardens,  pathways,  court,  approach, 
terrace  and  the  rest  of  it,  or,  as  it  might  be  termed,  one-half  for  the  pud- 
ding, the  other  for  the  sauce,”  as  the  architect  facetiously  said  some  time 
ago.  Indeed,  it  seems  to  have  been  accepted  as  the  general  aim  of  the  archi- 
tect’s office. 


199 


THE  COURT  IS  CLOSED  AT  THE  SOUTHERN  END  BY  THE  STABLES 
The  main  entrance  is  in  the  far  corner,  and  is  partly  concealed  by  tall  cedars 

It  is  somewhat  foolish  to  speak  of  it  as  a French,  English  or  Italian 
house.  It  is  a little  of  each.  English,  possibly  in  its  enrichment  within.  The 
underside  of  the  loggia  has  the  decorative  painting,  which  is  French  in  de- 
tail. But  the  general  plan  is  undoubtedly  the  product  of  American  needs, 
American  requirements.  You  feel  that  as  you  enter;  you  feel  it  as  you 
examine  the  blue  print  plan,  or  as  you  study  it  in  detail  or  mass.  It  is  dif- 
ficult to  look  at  this  very  delightful  entrance,  with  its  central  arch,  its  deli- 
cately painted  barrel  vaulting  and  slender  marble  columns,  without  recall- 
ing vividly  the  loggia  to  the  Pazzi  chapel  at  Santa  Croce,  Florence,  by  that 
indomitable  little  personality,  Filippo  Brunelleschi,  the  enthusiastic  comrade 


200 


THERE  IS  A DELIGHTFUL  AIR  OF  PRIVACY  AND  PROTECTION  IN  THE  COURT 
The  white  light  of  the  picture  is  the  marble  fountain,  and  the  arched  entrance  beyond  it 

of  Donatello  and,  for  a time,  of  Ghiberti.  In  its  graceful  proportion,  it  re- 
calls not  a little  the  arcade  of  the  portico  of  Saint  Annunziata  and  Spedale 
degli  Innoeenti.  There  is  an  Etrurian  intiuenee  to  be  seen  in  the  cap  and 
elsewhere.  This  house  is  the  work  of  a man  who  determined  to  indulge  him- 
self in  just  one  little  architectural  note,  and  that  as  infinitely  beautiful  as 
lie  could  possibly  make  it.  It  is  of  white  marble,  an  exquisite  detail  like  the 
little  Saint  Ambrose  chapel  of  the  Cathedral  of  Saint  John  the  Divine,  but 
recently  completed  and  dedicated  to  daily  service.  It  is  the  accent  of  the 
house.  The  rest  of  the  house  is  fearlessly,  deliciously,  almost  impertinently 
bereft  of  the  usual,  I might  almost  say,  the  too  usual  trimmings,  thought 


201 


202 


FROM  THE  COURT  WE  GET  THE  ACADEMIC  ACCENT  AS  WELL  AS  THE  PICTURESQUE  SETTING 
Here  is  a delightful  study  in  textures  and  color.  Romance  plays  an  important  part  in  the  planting.  The  fountain  is  a relic  of  old  Verona 


ONE  OF  THE  DIFFICULT  THINGS  TO  TREAT  IN  A HOUSE  IS  THE  STAIRCASE 
The  wrought -iron  balustrading  is  introduced  from  an  interesting  old  European  fragment 

essential  to  an  architectural  composition  of  any  moment.  It  is  of  hard,  well- 
burnt  brick. 

Within,  it  is  full  of  color.  The  wall  of  the  hall  is  blue.  It  is  by  means 
of  a red-tile  staircase  that  we  climb  to  the  upper  story.  The  balustrading 
is  of  wrought-iron,  taken  front  a fragment  of  old  work  which  Mr.  Hastings 
fortunately  found  in  Europe.  The  ceiling  is  an  old  Italian  painter’s  work 
of  considerable  merit,  and  very  beautiful  and  low  in  tone.  The  dining-room 
is  an  English  example  of  wall  panelling  of  the  eighteenth  century.  The 
painting  of  the  ceiling  is  of  a religious  significance  of  the  same  period.  The 
library,  the  largest  room  in  the  house,  is  a portion  of  the  original  building, 


203 


SHOW  ME  THE  HOUSE  AND  I WILL  INFORM  YOU  OF  THE  MAN 
The  library  of  a student,  alive  to  the  importance  of  practical  affairs,  and  a lover  of  beauty 


which  survived  the  tire.  It  was  rebuilt  in  part.  The  owner  is  fond,  among 
other  things,  of  maps,  charts,  plans  and  surveys.  Above  the  books  are  lock- 
ers, an  ingenious  contrivance  whereby  the  maps  may  be  hauled  down  or 
rolled  up,  as  you  will,  out  of  sight  but  forever  within  reach. 

The  unfortunate  fire,  which  destroyed  so  much  of  the  house  that  it  had 
to  be  rebuilt  from  start  to  finish,  gives  us  a very  pleasing  side-light  upon 
the  skill  of  the  distinguished  owner,  who  happens  to  have  been  his  own  archi- 
tect. To  me  it  is  interesting  to  see  that  it  was  rebuilt,  not  redesigned,  be- 
cause it  shows  a confidence  in  the  former  judgment  and  that  the  house  had 
been  excellent,  gratifying  all  expectations.  There  is  a subtle  satisfaction 
in  this  when  we  realize  how  few  houses  survive  the  intimate  relation  of  daily 
life!  Do  they  not  too  often  resemble  people,  in  that  while  our  friendship 
may  be  delightful  and  satisfying  for  a time,  a protracted  acquaintance  might 
prove  fatal?  The  qualities  that  win,  sometimes  fail  to  hold.  Very  prettily  do 


204 


THIS  SUGGESTS  THE  COMFORT  AND  RESTRAINT  OF  AN  ENGLISH  DINING-ROOM 


The  accent  is  the  decoration  of  the  ceiling  and  the  painting  of  Augustus  St.  Gaudens  near  window 

certain  people  attract  by  the  bright  sparkle  of  their  wit,  oft  basking  in  the 
sunshine  of  their  own  verbosity,  as  Beaconsfield  used  to  say,  while  the  audi- 
ence applauds  in  the  offing  and  things  go  well  and  the  goose  hangs  high! 
But  they  tire,  they  weary  and  even  applause  bores.  Yes,  many  houses  are 
very  much  like  people  of  whom  we  experience  sad  disappointment. 

The  accompanying  sketch  shows  that  a large  portion  of  the  Roslvn  estate 
remains  practically  in  its  original  condition.  Much  of  it  is  not  even  enclosed 
with  a fence.  So  insidiously  has  the  architect  added  to  the  scene  a well- 
devised  house  with  accompanying  outbuildings  and  garden  that  the  romance 
and  beauty  of  the  property  is  unimpaired.  The  building  stands  on  a small 
elevated  plateau  surrounded  by  dense  woods.  Look  at  the  sketch.  The  house 
court  with  barn,  gardener’s  cottage  and  garage  are  enclosed  with  a high 
Avail.  By  the  planting  of  a long  pleached  avenue  of  linden  trees  additional 
shelter  and  a strong  decorative  accent  has  been  gi\ren,  forming  the  westerly 


205 


v/'/p 


SKETCH  PLAN  OF  PORTION  OF  PROPERTY 

The  views  show  informal  vista  from  terrace  to  arbor  and  general  location  of  tilings.  It  reveals 
pathways  and  varying  levels.  Woods  are  supplemented  in  places  by  small  trees  of  their  own  kind 


206 


MR.  THOMAS  HASTINGS’  HOME  AT  ROSLYN,  L.  I. 


207 


side  of  the  court.  Beyond  the  terrace  pavement,  descending  some  thirty 
feet  or  more,  are  the  meadow  and  vegetable  garden  you  passed  as  you  arrived 
from  the  station,  only  so  entertained  were  you  by  the  extended  grapevine- 
covered  pergola  skirting  the  roadway  that  you  failed  to  see  it  all.  Even  the 
observant  fail  to  catch  some  of  the  beautiful  green  things  such  as  the  dwarf 
mountain  mugho  pine  bushes  which  cover  in  an  irregular  fashion  the  surface 
of  the  slope.  These  effective  little  evergreens  from  the  mountains  of  Switz- 
erland are  very  serviceable,  being  of  the  type  which  clings  to  the  ground,  re- 
sembling somewhat  juniper  and  enriching  without  darkening. 

The  principal  rooms  are  indicated  upon  the  plan.  A is  the  entrance 
hall,  B the  living  room,  C the  dining  room,  D the  library.  There  are  two 
mentions  of  the  letter  E,  which  mark  the  little  loggia  at  each  end  of  the  house. 
The  sketch  also  shows  the  southern  and  westerly  terrace  and  the  hedging  of 
box  or  privet  which  accents  desirable  boundaries.  Here  is  the  green  of  the 
forest,  that  is,  of  the  natural  Long  Island  woods,  plus  the  acquired  green 
bushes  of  varying  kinds  planted  between  the  larger  oaks  as  seemed  essential 
to  intensify  a certain  well-defined  climax.  It  is  very  peaceful;  in  color  it 
is  green,  the  green  of  a thousand  palettes,  with  all  the  modifications  the  Orien- 
tal mind  can  conceive,  and  it  is  a sunshiny  place. 

Vases,  and  wide,  open-mouthed  pots,  low  squat  tubs  with  sturdy  box, 
laurel  and  magnolia  trees,  jars  reminding  us  of  the  famous  Arabian  Nights 
story  of  The  Forty  Thieves,  a well  head,  sedilia  and  fountain  from  one  of 
the  southern  principalities  of  the  energetic  King  Rene,  who  strove  in  the 
good  Renaissance  days  to  restore  to  art  and  letters  some  semblance  of  the 
regard  in  which  the  ancients  had  held  them,  occupy  prominent  places  in 
the  court.  They  assail  our  hearts  with  a thousand  memories.  Some  will  re- 
call with  delight  the  Oriental  prince  who,  among  many  other  occupations, 
was  enamoured  of  the  gentle  art  of  gardening,  and  who,  while  enjoying  the 
designing  of  large  places  whose  dignity  and  inches  required  the  larger  frame 
of  nature,  clung  tenaciously  to  little  inanimate  things  which  to  him  Avere  ever 
alive.  He  treasured  these  for  the  messages  they  whispered  to  him  of  old 
civilizations  never  far  distant.  The  earthen  jar  into  wicli  Marjaneh  poured 
the  boiling  oil  so  thoughtlessly  upon  the  forty  thieves  is  not  only  a nursery 
romance  hut  a decorative  note.  It  strikes  a key  in  the  kingdom  of  the  painter 
as  inspiringly  as  a dandelion-bestarred  meadow  or  the  fugitive  smile  on  the 
countenance  of  his  fair  mistress. 

In  a whimsical  mood,  Mr.  Hastings  named  the  house  “Bagatelle,”  an 
Italian  word  absorbed  by  the  French,  the  true  meaning  of  which  is  “a  thing 
of  trifling  importance.”  And,  architect-like,  he  supplements  with  a motto 
— Parva  sed  apta , “small  but  fit.” 


THE  MAIN  ENTRANCE  PORCH  WITH  ITS  STATELY  COLUMNS  AND  PEDIMENT 
Roadway  passes  under  a grove  of  trees  to  which  rhododendrons  and  box-wood  bushes  have  been  added 


208 


Mr.  James  Parmelee’s  Washington  Home 

Charles  A.  Platt,  architect 

Illustrations  from  original  drawing  and  photographs  by  Julian  Buckly 


HE  property  of  Mr.  James  Parmelee  adjoins  Rock  Creek 
Park  on  the  northern  side  of  the  romantic  city  of  Wash- 
ington. It  is  but  two  miles  from  the  White  House,  and 
while,  without  any  definitely  connected  view  of  that  engag- 
ing center  of  things  political  and  social,  the  property,  being 
densely  wooded,  is  still  in  full  enjoyment  of  the  panorama 
from  the  upper  windows  during  certain  seasons  of  the  year.  There  is  an 
Old  World  serenity,  a sense  of  seclusion,  we  may  say,  in  the  way  in  which 
the  house  stands  some  forty  feet  above  the  roadway,  in  the  heart  of  a well- 
shaped grove  of  oak  trees  backed  by  hickories,  chestnuts  and  beech  which 
form  so  dense  a wood  round  the  property.  It  is  of  the  style  selected  by 
Washington  for  the  official  home  of  the  executive  of  the  nation,  the  style 
familiar  with  and  favored  by  the  aristocracy  of  that  period  and  forever  asso- 
ciated intimately  with  the  struggle  of  certain  enthusiasts  who  endeavored  to 
transmit  to  the  wealthy  of  England  some  such  stately  homes  as  were  then 
in  vogue  in  Italy. 

The  Causeway  is  well  named.  It  is  approached  by  means  of  a well- 
constructed  road,  a bridge  in  fact,  which  is  built  quadrant-fashion,  span- 
ning the  brook  near  the  entrance.  This  roadway  has  been  so  skilfully  con- 
trived that  while  it  passes  through  the  wood,  giving  delightful  little  surprises 
at  unexpected  angles,  it  has  not  entailed  the  sacrifice  of  any  of  the  trees  and 
it  reaches  the  highest  part  of  the  property  without  any  obvious  cutting  of 
importance.  In  other  words,  the  visitor  climbs  some  forty  or  more  feet 
without  knowing  it,  so  subtle  is  the  accent.  The  parapet  wall  bordering 
the  roadway  and  bridge  is  built  of  trap-rock  quarried  in  the  neighborhood, 
and  certain  huge  boulders  found  upon  the  site.  While  this  construction  is 
an  engineering  scheme  of  some  importance,  it  is  exceedingly  picturesque 
with  heavily  buttressed  and  battered  piers  at  intervals. 

The  Causeway  is  interesting  also  as  a complete  and  well-studied  house 
of  a definite  architectural  style.  It  is  Georgian  throughout.  The  northern 
frontage,  the  main  entrance,  is  accented  by  a portico  of  unusual  dignity, 
the  pediment  of  which  is  supported  by  four  slender  columns.  Like  the 


209 


THE  LONG  BALUSTRADED  TERRACE  AND  SOUTHERN  APPROACH 
This  is  reached  also  by  some  of  the  minor  foot-paths  through  the  thick  grove  of  oak  and  chestnut 


210 


MR.  JAMES  PARMELEE’S  WASHINGTON  HOME 


211 


dressings,  cornice,  sills  and  panels,  pilasters  and  string-course,  these  columns 
with  their  broad,  stately  steps,  are  of  limestone.  It  is  a red  brick  house. 
A long  stone  terrace  with  heavy  hand-rail  and  moulded  pillars  and  square 
piers  parallels  the  southern  frontage  with  its  accompanying  broad  steps 
leading  direct  to  the  meadow.  The  composition  recalls  much  of  the  work 
of  James  Paine  and  Robert  Adam  at  a time  when  the  Italian  period  was 
broadly  accepted  by  English  people  of  means  and  refinement  and  was  no 
longer  merely  an  architectural  expression  for  the  Court.  It  resembles  not 
a little  the  splendid  work  of  Robert  Grumbold  in  his  design  for  Clare  Col- 
lege at  Cambridge.  There  is  an  eclecticism  about  the  whole  composition 
which  is  agreeable.  Broadly  speaking,  the  initial  impulse  of  the  Italian  as 
a phase  of  fashion  ran  itself  out  in  England  prior  to  the  end  of  the  eigh- 
teenth century  and  the  Georgian  style  began.  Thanks  to  Wren,  to  the  es- 
sential and  self-imposed  economies  of  the  time,  Georgian  architecture  re- 
ceived a splendid  impetus,  particularly  adapted  to  the  new  republic.  Its 
true  value  as  domestic  architecture  for  the  White  House  was  obvious  to 
Washington  and  Jefferson.  For,  while  being  a cultivated  form  of  archi- 
tecture imbued  at  all  times  with  a spirit  of  romanticism,  it  had  a certain 
intuitive  cosmopolitanism  which  made  it  popular,  within  reach  of  people  of 
moderate  means,  and  capable  of  being  expressed  in  a hundred  ways.  It  is 
interesting  to  recall  that  the  White  House  was  designed  by  Dr.  William 
Thornton,  an  intimate  friend  of  Thomas  Jefferson  and  one  of  the  best 
known  amateurs  of  the  time.  Dr.  Thornton  took  as  his  model  Stourton 
House,  Wiltshire.  We  are,  however,  indebted  to  Hallet,  an  English  archi- 
tect and  a pupil  of  John  Nash,  for  the  general  supervision  of  the  building. 

The  Causeway  is  of  value  in  the  main  by  virtue  of  its  placement.  It 
might  have  been  built  a hundred  years  ago.  Even  now  the  lichen  and  moss, 
the  weather  staining  is  tying  it  to  the  ground.  Splendidly  has  the  archi- 
tect taken  advantage  of  the  grove  and  accompanying  underbrush,  and  he  has 
remembered  the  importance  of  green  and  rich,  full  colors  for  the  winter 
season  of  Washington.  Rhododendrons  have  been  planted  here  and  huge  box 
plants  from  Brazil.  Many  of  these  are  very  large  and  well  shaped.  Some 
are  at  least  one  hundred  and  fifty  years  old.  They  border  the  steps  at  the 
entrance.  They  fill  in  the  vacant  gaps  under  the  trees  and  form  a broad 
margin  of  color  along  the  edge  of  the  driveway.  This  woody  undergrowth  is 
very  delightful.  Preference  has  been  shown  for  the  type  of  plant  which 
maintains  clusters  of  berries  during  the  winter  and  which  develops,  as  it 
were,  a fascinating  color  change  from  light  green  to  red,  at  times  often  bril- 
liant scarlet,  and  on  to  purple  as  the  season  progresses.  Again,  there  is 
the  inevitable  perfume  as  of  a pot-pourri  of  sun-warmed  cedar  wood,  box 


THE  DINING-ROOM  ENTRANCE  GIVES  A GLIMPSE  OF  THE  MAIN  HALL 
It  depends  upon  the  subtleties  of  carving,  panelling  and  slightly  projecting  mouldings  for  its  interest 


212 


MR.  JAMES  PARMELEE’S  WASHINGTON  HOME 


218 


and  rhododendrons;  the  pungent  perfume  of  wayward  under  hush,  moist 
shrubberies,  unlike  pastoral  Germany  or  Switzerland,  characteristic  rather 
of  England.  Through  the  foliage  of  the  lower  branches  near  the  entrance 
we  get  the  glint  of  the  tall  piers  revealing  the  arched  gateway  to  the  walled 
garden,  and  beyond  the  flash  of  a vivid  light  upon  the  curved  roofing  of  the 
greenhouses — that  nursery  for  tender  plants  and  exotics,  which  plays  so 
important  a part  in  furnishing  the  house.  This  enclosure  of  great  promise 
will  doubtless  shelter  many  plants  of  more  than  ordinary  interest  because 
of  its  protected  position.  A walled  garden  under  the  shade  of  the  oak  grove 
is  a delight.  It  is  serious  in  line  and  rather  stately  in  arrangement  but 
promises  to  be  gorgeously  diversified  in  color  and  wilful  with  its  fragrance. 
A fountain  will  be  the  central  feature.  The  visitor  will  find  in  the  capricious 
outline  of  the  brook  much  pleasure  and  he  will  doubtless  he  attracted 
greatly  by  the  broad  meadowland  left  between  the  driveway  and  the  woods. 

Within  the  house  the  white  note  has  been  maintained  throughout.  The 
entrance  hall  and  stairway  detail  is  very  pleasing,  the  interlacing  balustrad- 
ing  unusual.  In  the  library  an  attempt  has  been  made  to  design  up  to  the 
old  marble  mantelpiece,  a treasure  of  the  Adam  period,  which  the  archi- 
tect was  so  fortunate  as  to  discover  among  the  curios  of  an  interesting  gal- 
lery. The  authentic  spirit  of  Chippendale  and  Sheraton,  thanks  to  the  in- 
defatigable enterprise  of  the  owner,  pervades  some  of  the  furniture.  This 
is  the  all-important  room  of  the  house,  adjoining  the  semicircular  conserv- 
atory and  being  well  lighted  from  three  sides.  There  are  many  things  to 
entertain  in  the  dining-room  with  its  vigorous  panelling  to  side  wall  and 
ceiling.  A tapestry  of  unusual  interest  covers  the  westerly  wall.  It  is  a 
tapestry  with  curiously  interwoven  mottoes  in  quaint  French  phraseology— 
a little  of  a challenge  to  most  of  us.  The  Chippendale  furniture  is  of  the 
period  when  that  resourceful  craftsman  was  looking  to  China  for  some  of 
his  motifs.  The  decorative  sense  of  that  lordly  country  dominates  the  rugs 
which  have  been  specially  woven  for  the  principal  rooms.  The  weaving  was 
undertaken  in  Persia.  The  rug  of  the  dining-room  is  charged  with  Ori- 
ental arabesques,  a diaper  of  stately  regularity  and  voluptuous  color  of 
which  red  is  the  prevailing  note.  The  rug  of  the  library  is  golden  in  tone 
with  a dull  blue  border.  The  rug  of  the  parlor  is  a study  in  blue. 

For  many  years  the  property  was  known  as  Twin  Oaks,  having  within 
its  boundary  a frame  farm-house  of  no  particular  merit,  situated  between 
the  new  house  and  the  present  garage.  The  roads  on  the  upper  northwest 
corner  remain  as  originally  laid  out,  running  through  the  rich  underbrush  in 
a very  natural  fashion.  The  great  thing,  of  course,  the  one  thing  which  en- 
gaged the  attention  of  Mr.  Platt,  was  to  so  locate  the  new  house  as  to 


214 


215 


THE  SKETCH  PLAN  OF  PROPERTY  DISCLOSES  STORY  IN  GRAPHIC  FORM 

Entering  from  Klingle  Road,  the  visitor  crosses  the  bridges  and  ascends  the  driveway  to  the 
house.  The  drawing  shows  the  position  of  the  garden,  garage,  cottage  and  general  lay  of  the  land 


•216 


MR.  JAMES  PARMELEE’S  WASHINGTON  HOME 


217 


make  the  best  of  everything.  After  careful  examination  and  study  he  decided 
to  recommend  the  brow  of  the  hill  as  the  best  position,  because,  with  a little 
cutting,  a broad  open  vista  would  extend  over  the  valley  and  far  beyond 
the  property  line.  The  house  is  approached  from  Klingle  Road  by  a bridge 
spanning  the  brook.  The  visitor  ascends  forty  feet  above  the  house  by  that 
serpentine  roadway,  segmental  in  plan,  with  retaining  walls  on  both  sides,  a 
portion  of  the  way.  The  accompanying  plan  shows  main  rooms  lettered  re- 
spectively. A indicates  drawing  room  and  D entrance  hall;  C dining  room, 
conveniently  near  the  service  quarters;  E is  the  little  study  connecting 
drawing  room  and  dining  room,  a room  set  apart  complete  within  itself,  still, 
scarcely  so  independent  as  the  library,  which  occupies  the  entire  easterly  end 
of  house  and  which  is  here  designated  by  letter  B,  with  conservatory  F. 
There  are  many  delightful  vistas  in  the  place,  some  that  are  accidental  and 
others  that  are  deliberately  constructed  for  various  practical  and  obvious 
reasons.  Standing  under  the  main  portico  looking  westerly  we  find  our- 
selves entertained  first  by  a walled  garden,  beyond  that  again  the  long  vista 
planted  with  evergreens  leading  to  a little  figure,  marked  M,  which  is  not 
only  an  agreeable  academic  line  but  also  of  some  little  domestic  importance, 
giving  a relief  to  the  wild  foliage  and  access  to  domestic  quarters  such  as 
drying  yard,  vegetable  garden,  gardener’s  cottage  and  the  rest  of  it.  L indi- 
cates the  lake  in  the  valley. 

The  Causeway  is  indicative  once  again  of  the  exalted  spirit  which 
makes  for  good  domestic  architecture  of  the  highest  order,  being  singularly 
free  from  lavish  display,  yet  having  assuredly  a quality  of  stateliness  which 
is  omnipresent  whithersoever  we  look.  It  has  that  subtle  charm  of  hanging 
together,  that  completeness  which  is  agreeable.  A house  of  this  type  is  not 
simply  one  more  solution  of  the  perplexing,  yet  ever-engaging  problem  of 
building  homes,  the  fulfilment  of  a specification  requiring  furniture  and 
scenery  to  correspond,  but  rather  is  it  an  essay  which  invites  a certain  kind 
of  life.  In  a word,  the  architect  is  sociologist  as  well  as  painter.  The  house 
has  the  ever-engaging  sense  of  seclusion,  of  protection.  It  is  a little  realm 
of  its  own  without  vistas  cutting  through  the  woods  to  bring  from  foreign 
parts  a diverting  picture.  Has  it  not  scenery  of  its  own  sufficient  to  satisfy 
the  most  exacting,  and  with  which  it  is  good  to  live? 


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218 


VERY  EFFECTIVE  IS  THE  STATELY  SCREEN  OF  RED  CEDARS 

The  formal  garden  in  connection  with  a natural  setting  is  here  shown.  The  water  for 
the  pools  is  used  continuously,  being  pumped  into  reservoirs  on  a very  much  higher  level. 
The  accent  of  the  central  pool  is  a large  bronze  bowl  supported  by  four  figures 

Home  of  Mr.  H.  L.  Pratt,  Glen  Cove,  L.  I. 

James  Brite,  architect 
James  Greenleaf,  landscape  architect 


Illustrations  from  photographs  by  The  Wallace  Photograph  Co. 


NOW  that  the  ever-engaging  problem  of  the  American  country  home 
is  drawing  to  itself  so  much  of  the  attention  of  the  man  of  affairs,  we 
are  profoundly  grateful  that  care  and  judgment  is  bestowed  not  only 
upon  architectural  detail,  structural  integrity,  the  adjustment  of  the  plan  to 
suit  the  garden  and  the  view,  but  also  upon  the  arrangement  of  the  imme- 
diate boundary,  so  that  the  whole  design  makes  a unit,  complete  and  satis- 
factory within  itself.  And  when,  in  addition  to  all  this,  the  scheme  takes  so 
prominent  a place  in  the  neighborhood  as  to  make  a beautiful  picture,  wherein 
the  natural  grove  with  its  rich  diversity  of  outline  and  color  forms  a setting 
for  the  dignified  composition,  it  is  so  much  the  better. 

A notable  example  of  this  is  splendidly  shown  in  the  views  before  us, 
relating  as  they  do  to  the  last  of  the  big  houses  overlooking  Long  Island 


219 


220 


Because  of  its  color  and  association,  this  sunken  garden,  into  which  the  steps  from  the  westerly  loggia  descend,  is  intimately  related 
to  the  house.  It  is  practically  an  outdoor  room.  The  little  tea-house,  with  its  bay  and  open  fireplace,  has  a delightful  outlook  upon 
meadow  and  Sound  beyond.  The  garden  is  brave  in  many-colored  perennials  and  flowers  that  blossom  late  in  the  season 


HOME  OF  MR.  H.  L.  PRATT,  GLEN  COVE,  L.  I. 


221 


Sound  in  the  vicinity  of  Glen  Cove,  the  property  of  Mr.  Herbert  L.  Pratt, 
a portion  of  the  original  family  estate.  It  is  interesting  to  note  that  a part 
of  the  grove  of  remarkable  trees  forming  a boundary  to  the  adjoining  prop- 
erties belongs  to  Mr.  George  D.  and  Mr.  John  T.  Platt,  respectively,  and  it 
is  instructive  to  examine  carefully  the  way  in  which  these  very  attractive 
houses  have  been  skilfully  wedded  to  the  setting.  Here  in  our  own  country 
is  a splendid  illustration  of  the  type  of  work  valued  so  keenly  by  Ameri- 
cans during  their  numerous  trips  abroad.  “Yes,”  says  a visitor,  “the  halls 
of  England  are  pretty,  their  gardens  delightful,  but” — to  quote  the  inevitable 
but,  the  spoiler  of  day  dreams,  the  assassin  of  romance — “how  will  it  all  look 
under  the  shining  sun  of  America?”  Judge  for  yourself. 

The  house  of  Mr.  Pratt  is  a graceful  tribute  to  the  versatility  and 
architectural  equipment  of  the  designer.  While  he  has  frankly,  and  with 
no  little  care,  reproduced  in  the  elevation  much  of  the  detail  of  Bramshill, 
a well-known  English  house  of  the  first  quarter  of  the  seventeenth  century, 
intended  for  the  amiable  and  accomplished  prince,  Henry  Frederick,  the 
eldest  son  of  King  James  I,  he  lias  wisely  omitted  a prominent  part  as  being 
undesirable  and,  to  put  it  mildly,  somewhat  pretentious.  In  vain  we  look 
for  a counterpart  of  that  pedantic  entrance  to  the  Manor  of  Hampshire 
with  its  projecting  oriel,  its  too  busy  and  aggressive  ornamentation,  crowned 
with  the  Elizabethan  interpretation  of  the  feathers  of  the  Prince  of  Wales. 
The  house  of  Mr.  Pratt  is  quiet  in  detail,  pleasing  in  proportion  and  delight- 
fully devoid  of  irritating  features  foreign  to  our  civilization.  It  starts  right 
with  an  excellent  plan  which  embraces  the  gardens,  and  provides  for  the 
varying  levels  of  the  property  and  for  a proper  disposition  of  the  encircling 
wall,  so  that  while  it  is  an  unmistakable  demarcation  of  that  portion  of 
the  property  belonging  intimately  to  the  house,  it  is  in  no  sense  a barrier 
to  the  wholesome  enjoyment  of  the  rest  of  it.  In  a word,  the  wall  encircles 
in  an  unobtrusive  and  natural  way  without  trespassing  at  all  upon  our  en- 
joyment of  the  superb  setting  beyond.  To-day  we  lose  the  wall  here  and 
there  among  the  shadow  and  outline  of  the  screen  of  lordly  cedars  and  do- 
mestic box,  and  later  still  more  will  be  forgotten  when  the  wistaria  and 
grapevine  climb  the  pergola  and  with  their  rich  mantling  play  friendly 
havoc  with  their  quaint  formality.  There  is  no  vine-covered  walling  equal 
in  a decorative  way  to  the  lofty  cedars,  which  make  so  calm  and  stately  a 
screen  standing  as  a silent  retinue  before  an  ever-smiling  queen.  They 
shade  the  way  from  one  terrace  to  another,  bringing  into  prominence  the 
tender  grayish  green  of  the  woods  beyond. 


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223 


the  LIVING-ROOM  GIVES  a VIVID  ILLUSTRATION  OF  THE  RICHNESS  OF  JACOBEAN  DAYS 
One  valued  treasure  of  the  house  is  the  wainscoting,  which  at  one  time  surrounded  the  banqueting  hall  of  a well-known  historic  mansion 


224 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


It  is  comforting  to  realize  that  while  the  wood  and  plaster  work  has 
been  so  contrived  as  to  permit  the  natural  expansion  and  contraction  en- 
tailed by  our  own  climate  the  underlying  spirit  of  the  Elizabethan  work 
has  been  preserved.  This  is  saying  a great  deal  when  we  know  what  this 
means  and  how  exacting  this  form  of  design  really  is.  There  is  a certain 
strenuosity  about  it.  It  has  its  own  severity  in  outline  and  proportion  as  well 


THE  DINING-ROOM  IS  NOT  WITHOUT  ITS  DIGNITY  AND  REPOSE 

Characteristic  of  the  period,  the  accent  is  upon  two  fine  portraits  of  the  Dutch  school, 
and  upon  the  oak  panelling,  carved  fireplace  and  interlacing  strap  ornament  of  ceiling 


as  richness  in  color.  It  typifies  the  period  which  encourages  contrast  of  color, 
moulding  and  carving,  but  insists  upon  breadth ; hence,  it  is  a difficult  style 
in  which  to  get  the  effect  the  present  restless  age  demands.  This  has 
been  very  skilfully  adhered  to  in  that  portion  of  the  house  which  may  be 
spoken  of  as  completed  and  studied  to  the  full.  Although  we  do  not  have 
the  gorgeous  silk  and  satin  costuming  of  the  Elizabethan  or  Tudor  days, 
to  which  interiors  of  this  type  were  a natural  background,  we  have  color  in 
other  ways.  It  is  here  to  be  seen  in  the  worthy  portraits  upon  the  walls,  the 
rugs  so  full  of  rare  tones,  vivid  at  times,  the  glint  of  the  silver  shining 


HOME  OF  MR.  H.  L.  PRATT,  GLEN  COVE,  L.  I.  225 

against  the  broad  oak  panelling  and  the  embroidered  hangings,  which, 
thanks  to  the  brilliancy  of  our  light,  shine  wonderfully  throughout  the  year. 
We  are  a little  apt  to  forget  this  quality  of  light  in  the  general  scheming 
of  our  houses.  Again,  here  is  the  delicate  subject  of  reflected  light,  the  ceru- 
lean overhead  and  the  ever-present  green,  man’s  tireless  mentor,  at  our  feet. 
During  the  last  few  weeks  the  planting  scheme  of  the  fountain  court 


HERE  THE  GREAT  PANORAMA  OF  THE  SOUND  IS  EVER-ENGAGING 

The  scene  delights  with  varying  colors,  the  intense  dark  russet  of  box  and  cedar,  the 
delicate  foliage  of  locust  and  oak,  and  beyond,  the  silvery  haze  of  the  distant  shoreline 

has  been  developed  further,  and  the  broad  bordering  of  herbaceous  plants, 
such  as  hollyhock,  delphinium,  phlox,  and  of  course  dahlia,  glorious  in  their 
glad  raiments,  vigorous  in  growth,  enrich  the  scene.  These  darlings  have 
been  assigned  a prominent  place  at  each  end  of  the  court  at  the  foot  of  the 
tall  cedar  screens.  The  mirror  pools  change  every  hour  of  the  day,  following 
capricious  meanderings  of  the  clouds.  At  times  the  coping  is  scarcely  visible, 
hidden  by  the  spreading  border  of  yew  and  the  accompanying  procession  of 
water  lilies  which  skirt  the  edge  of  the  pools.  Bronze  figures  of  center 
fountain  and  lesser  ones  in  niches  near  runways  are  oxidizing  delightfully. 


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226 


FROM  THE  BOULEVARD  THE  ENTRANCE  IS  BOTH  CONVENIENT  AND  IMPRESSIVE 
A well-worked-out  plan  with  much  of  the  energy  of  the  Tudor  and  the  convenience  of  modern  time 


The  Home  of  Mr.  Finley  Barrell,  Lake  Forest,  111. 

Howard  Shaw,  architect 

Illustrations  from  photographs  by  H.  Fuermann 

ALTHOUGH,  of  course,  the  full  enjoyment  of  this  very  remarkable 
home  is  reserved  for  the  favored  few,  the  rest  of  us  get  from  the 
views  a very  fair  idea  of  the  source  of  its  popularity.  It  is  a home 
of  surprises,  the  general  scheming  of  which  must  have  been  a delight  to  the 
architect  as  it  is  still,  to-day,  a challenge  to  the  visitor.  There  are  so  many 
fountains  and  pools,  such  arbors  and  bowers,  pergolas  and  terraces,  and 
pockets  for  water-loving  plants  that  it  would  seem  that  somehow  or  other 
the  fairies  had  been  at  work,  as  if  jealous  of  the  wild  abandon  of  the  forest 
alongside,  some  tine  trees  of  which  remain  standing  on  the  terraces. 

Arriving  at  the  fore-court,  we  pass  through  the  loggia  into  the  gallery 
and  the  long  living-room,  which  opens  on  the  main  terrace  and  which  is 
flanked  by  porches  at  each  end. 

Says  a friend  of  the  family:  “It’s  a bully  good  plan  and  simplicity  itself, 
with  no  foolishness  by  way  of  borrowed  lights.  Every  foot  of  the  outside 
is  utilized  for  the  lighting  and  the  views,  which  are  beautiful.  The  help 
have  their  own  wing  connecting  witli  a corner  of  the  dining  room.  The 
plan  reminds  me  of  some  of  the  minor  palaces  of  Verona.” 


228 


229 


230 


231 


This  interesting  composition  has  many  pleasing  features.  It  is  a picture  to-day  that  will  later  be  richer  in  color.  In  the  ordinary  nature 
of  things  the  tiling  and  walling  will  receive  that  tiny  incrustation  for  which  old  buildings  are  famous.  Aymar  Embury  II  is  the  architect 


232 


THERE  IS  SOMETHING  VERY  DEMURE  IN  THE  BRICK  FACE  AND  SLENDER  PILLARED  ENTRANCE 


Home  of  Miss  E.  A.  Watson,  White  Plains,  N.  Y. 

Delano  & Aldrich,  architects 

Illustrations  from  original  drawing  and  photographs  by  Edward  R.  Senn 


I 


N placing  the  house — always  a difficult  thing  to  do — advantage  has  here 
been  taken  of  the  two  splendid  elms,  so  that  the  building  stands  equally 
between  them,  seeming  to  receive  gratefully  the  air  of  romance  as 
bring  to  the  scene.  The  accompanying  plan  shows 
is  meant, 


well  as  shelter  they 
very  well  what 
though  the  spread  of  the  elms 
is  much  greater  than  here  indi- 
cated. Admirably  contrived  is 
this  little  place  wherein  the 
best  is  made  of  everything. 
The  student  recalls  the  coun- 
sel of  the  old  Oriental  profes- 
sor who  contended  that  in  ap- 
pearance the  worth-while  citi- 
zen of  the  world  resembles  the 
rest  of  the  crowd,  and  only 
when  we  become  acquainted 
with  him  do  we  speedily  find 
the  difference.  This  cottage 
with  its  old-fashioned  air  in- 
vites and  baffles.  But  for  the 
plan  it  might  escape  the  notice 
of  some  of  11s.  A casement  at 
the  end  of  the  living  room, 
reaching  to  the  floor,  permits 
us  to  step  to  the  veranda  and 
out  upon  the  lawn.  The  ve- 
randa is  of  wrought  iron,  slen- 


der in  line.  It  furnishes  an 
admirable  balcony  to  the  two 
bedrooms  above,  and  from  it 
the  awning  descends. 


THE  PLAN  TELLS  THE  WHOLE  STORY 

The  flower  garden  is  shown  continuing  the  longest 
line  of  house,  having  intimate  relation  with  living  room, 
of  which  it  seems  a part.  The  pavement  is  serviceable 


233 


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234 


STATELY  LOCUSTS,  FLANKING  THE  MAIN  ENTRANCE  OF  COURT,  ADD  DIGNITY 

Under  the  octagonal  clock  tower  is  the  garage;  to  the  right  are  three  comfortable  cottages  for 
help,  and  to  the  left  stables  for  polo  ponies.  The  court  is  paved  with  Belgian  cobbles  laid  in  sand 


Stable  on  Estate  of  Mr.  W.  D.  Straight,  Westbury,  L.  I. 

Delano  & Aldrich,  architects 

Illustration  from  photograph  by  Edward  R.  Senn 

There  is  something  very  entertaining  about  the  arrangement  of  build- 
ings which  border  the  new  court  to  Mr.  Straight’s  property,  the  ac- 
cent of  which  is  naturally  upon  the  garage  which  unites  the  two  wings 
and  is  the  center  of  things  generally.  It  is  an  interesting  picture;  also  it 
is  a stimulating  lesson  in  sociology  and  a revelation  of  the  modern  idea  where 
attention  to  the  most  trivial  as  well  as  important  demands  are  given  to  the 
requirements  of  our  friend  and  comrade,  the  horse.  And  it  is  a decorative 
picture,  thanks  to  the  locust  trees  and  oaks  planted  at  set  intervals  round 
the  court,  to  the  arrangement  of  the  roofing  in  so  subtle  a fashion  as  to  per- 
mit hooded  entrances  to  the  cottages,  and  gabling  to  garage  entrance. 


235 


THE  FRONT  ENTRANCE  TO  THE  LONG  ISLAND  HOME  OF  MR.  F.  G.  BOURNE 
It  resembles  a Georgian  mansion  of  the  later  Renaissance.  The  extending  wings  are  a recent  addition 


The  Brick  House 

OF  course,  if  we  want  color  in  the  building,  there  is  nothing  like  brick. 
Brick  is  so  warm,  so  rich,  so  full  of  color.  See  what  the  English  do 
with  brick  and  how  fine  it  looks  in  that  cold,  grim,  inhospitable 
climate  of  theirs?  I note,  by  the  way,  how  well  it  looks  here  when  snow  is 
on  the  ground. 

The  brick  which  was  so  valuable  when  moulded  and  used  in  the  fair  days 
of  Renaissance  Italy  became  serviceable  for  the  twisted  chimneys  of  the 
same  period  when  used  by  Thorpe  and  others  for  the  stately  English  halls. 
Was  it  not  brick  that  gave  prominence  to  the  bay  windows  which  swung  out 
so  gracefully  upon  the  upper  terraces  and  which  gave  full  flavor  to 
the  curved  gables,  not  to  speak  of  the  carved  arabesque  ornament  which 
characterizes  so  many  of  the  window  heads  and  panels  of  that  same  service- 
able period?  Brick  gives  a sense  of  security  and  comfort  to  the  tall  octag- 
onal chimneys  that  twist  and  wind  corkscrew  fashion,  making  a prominent 
accent  of  great  charm.  It  is  moulded  in  divers  quaint  outlines  for  cap  and 
weathered  base,  and  brick  again  lives  in  our  romantic  memories  and  in  the 
present  as  the  material  of  the  pavement,  of  the  terraces,  garden  paths,  ar- 
bors and  the  rest  of  it,  where  it  is  seen  in  friendly  competition  with  flowers 
—with  hollyhock,  delphinium,  dahlias,  and  the  alyssum  whose  gravish-white 


236 


THE  BRICK  HOUSE 


237 


plumage  unites  with  the  mortar  joints.  Thanks  to  the  metallic  oxides  of 
our  clays,  the  fierceness  of  our  fired  clay  in  the  form  of  brick  and  thin  tile 
adds  greatly  to  the  beauty  of  our  landscape.  It  wears  everlastingly. 

An  enthusiast  said,  sitting  on  the  drawing  table  of  his  office  and  swing- 
ing his  legs:  “You  have  all  heard  the  story  of  an  architect  in  search  of 
brick  in  Chicago,  lie  found  something  more  than  brick ; he  found  a splen- 
did reminder  of  the  Oriental  and  Flemish  manner  of  laying  it.  They  have 
a remarkable  brick  in  the  windy  city,  full  of  color,  wonderful  in  texture  and 
intensely  hard.  Some  of  the  stuff  is  moulded,  making  vitreous  pavement; 
some  is  used  for  chimneys.  How  many  realize  that  the  English  are  in- 
debted to  Sir  Christopher  Wren,  or  was  it  to  the  workers  he  brought 
over  from  Italy,  for  the  soft  red  brick  known  as  the  rubber?  It  was  a 
brick  which  could  readily  he  cut,  and  so  we  have  not  only  modelled  plaster- 
work  hut  modelled  brickwork  in  the  panels  of  the  Georgian  days.”  Exam- 
ine Hampton  Court,  if  you  will,  to  see  the  dark  headers  of  purplish  red, 
which  is  almost  black,  and  the  stretchers  of  tan,  russet,  brown,  brilliant  ver- 
milion of  a Chinese  orange  cast  and  vitrified  yellow  enlightening  the  red. 
Look  at  the  brick  mullions,  elliptical  window  heads  and  labels  of  the  Eliza- 
bethan and  Jacobean  buildings,  at  the  moulded  brick  copings  to  gables 
and  ornamental  detail  which 


has  been  cut  from  the  softest 
hut  most  richly  colored  brick, 
in  which  the  craftsmen  have 
permitted  the  joints  to  play 
their  part.  Where  would  the 
Georgian  carvers  be  without 
this  material  for  their  sunken 
panels  enriching  c h i m ney 
breasts?  Of  course,  in  England, 
as  in  these  United  States,  brick 
is  largely  used  for  its  economy 
as  well  as  its  beauty. 

Mr.  Ernest  Flagg  was  archi- 
tect of  the  house  on  page  236; 
Mr.  Howard  Shaw  of  the  house 
at  foot  of  page  237.  We  are 
indebted  to  Albro  & Lindeberg 
for  view  of  house  of  Mr.  Orville 
Babcock  which  we  have  ven- 
tured to  present  as  frontispiece. 


•r ^ ZV*  *T«S 

■ *X, ** 


1 mm® 


CHICAGO  HOME  OF  MR.  E.  MORRIS 

From  the  boulevard  we  get  only  a glimpse;  still  it 
reveals  the  general  character  of  the  place 


A PICTURESQUE  REMINDER  OF  THE  HALF-TIMBER  METHOD  OF  CONSTRUCTION 
In  an  ingenious  fashion  the  architect  has  permitted  the  upper  floors  to  overhang.  (See  page  281) 


238 


CHAPTER  III 

THE  HALF-TIMBER  AND  THE  FRAMED  HOUSE 


The  property  of  Mr.  E.  L.  Winthrop,  Jr.,  Syosset,  L.  I. — The  interesting  little 
residence  of  Mrs.  Peter  F.  Collier  at  Southampton,  L.  I. — Mr.  Robert  J.  Collier’s 
estate  at  Wicatunk,  N.  J. — The  home  of  Mr.  Emerson  R.  Newell,  Greenwich,  Conn. 
— The  Vermont  home  of  Mr.  Philip  B.  Jennings  at  Bennington — Stable  on  estate  of 
Mr.  Orville  Babcock  at  Lake  Forest,  III. — The  residence  of  Mr.  E.  D.  Adler,  Ocono- 
mowoc  Lake,  Wis. — The  home  of  Mr.  J . M.  Townsend,  Jr.,  Mill  Neck,  L.  I. 


THE  tenacity  of  old  traditions  is  shown  viv- 
idly in  the  occasional  use  of  half-timber 
as  an  element  of  modern  design.  It  is 
romantic  in  spirit,  sound  and  direct  in  structure 
and  within  certain  limitations  as  to  locality,  and 
in  view  of  the  effect  produced,  it  is  economical. 
For  the  moment,  this  latter  claim  will  seem  er- 
roneous when  we  remember  the  price  of  lumber, 
yet  some  architects  have  shown  such  wisdom  in 
their  use  of  this  serviceable  method  of  building 
where  it  appears  as  a structural  feature  of  their 
work  that  it  has  also  become  highly  decorative. 
There  are  so  many  ways  of  using  wood  which 
at  various  stages  of  our  history  has  become  of 
added  interest.  Its  use  can  be  confined  to  the 
times,  where  it  appeared  in  connection  with  brick 
laid  herringbone  pattern  between  the  framing.  That  practice  obtains  favor 
to-day  and  is  found  very  satisfactory.  The  space  also  is  filled  with  stucco 
bearing  upon  its  surface  frankly  the  marks  of  the  trowel,  or  with  added  orna- 
ment pressed  in  or  raised.  One  of  the  most  satisfactory  uses  of  this  engag- 
ing agent  has  recently  been  adopted  by  the  English,  who  get  from  Russia  split 
staving  of  oak,  which  they  use  for  the  pike  of  the  gable,  spiking  it  over  the 
frame  and  treating  the  surface  with  boiled  oil  or  creosote,  or  possibly  white- 
wash, as  the  occasion  invites. 

In  the  hands  of  some  enthusiasts  half-timber  has  become  of  decorative 
value  with  great  success  for  wings,  bays,  loggias  and  porches.  The  accom- 
panying illustrations  show  various  instances  of  this.  Half-timber  is  used  in 
connection  with  the  framed  house  regarding  which  we  continue  on  page  280. 


239 


240 


THIS  IS  A VIEW  OF  A FONG  ISLAND  HOME,  NOT  A PICTURE  OF  OLD  VIRGINIA 
It  has  the  qualities  of  repose,  of  excellent  properties,  of  attention  to  detail  without  fussiness,  and  of  the  glorification  of  essentials 


Home  of  Mr.  E.  L.  Winthrop,  Jr.,  Syosset,  L.  I. 

Delano  & Aldrich,  architects 

Illustrations  from  original  drawing  and  photographs  by  Edward  R.  Senn 


ERHAPS  it  was  the  beauty  of  the  setting  which  prompted 
Mr.  Egerton  L.  Winthrop,  Jr.,  to  select  the  Colonial  style 
for  his  house.  To  all  intents  and  purposes  it  is  an  old  place, 

ready  planted.  It  has  a beautiful  grove  of  locust  trees.  It 

has  also  pines  and  spruces,  an  occasional  round-topped 
maple  and  cedars,  bushes  of  lilac  and  hedging  of  privet  and 
hemlock,  which  show  that  for  years  the  little  property  was  cherished  by 

someone  for  its  own  intrinsic  beauty  or  association  of  some  other  kind.  It 

is  so  evidently  a property  with  a personality.  The  apple  orchard  appears 
to  have  been  planted  some  seventy-five  years  ago,  which  would  be  about  the 
time  when  Rufus  King,  who  was  twice  minister  to  the  court  of  St.  James 
in  the  time  of  Washington,  settled  in  Jamaica,  a few  miles  away,  and  Elias 
Hicks,  the  Quaker  preacher,  worked  on  his  farm  on  the  outskirts  of  Jericho. 

To  add  to  so  unusual  a site  a house  colonial  in  idea  without  disturbing 
things  too  much,  to  add  what  planting  was  necessary  to  develop  further  the 
changes  essential  to  the  building  entailing  the  loss  of  the  Old  World  charm 
of  the  place  was  part  only  of  the  problem  confronting  the  architects.  In  a 
skilful  manner  the  house  has  been  so  located  as  to  take  advantage  of  the 
trees.  It  was  found  on  careful  examination  that  by  building  in  a certain 
position  a long,  continuous  line  of  lordly  locusts  could  be  made,  as  it  were,  to 
form  a setting  for  the  southern  frontage.  While  two  others  equally  promin- 
ent determined  the  angle  of  the  servants’  wing.  Nor  was  this  all.  A careful 
examination  with  theodolite  and  level  disclosed  a possible  location  for  a 
flower  garden  on  the  western  extension  of  the  central  axial  line  and  an  in- 
viting place  for  an  evergreen  garden  within  a sunken  court  on  the  southern 
axis.  Many  of  the  grand  old  locust  trees  still  remain,  trees  that  were  doubt- 
less standing  when  Washington  visited  Jamaica,  lodging  over  night  at 
Warne’s  Tavern,  described  by  him  in  his  diary  as  “a  good  and  decent 
house.”  The  following  day  he  passed  on  to  Oyster  Bay,  through  Brook  - 
ville,  East  Norwich  and  on  to  Huntington.  It  is  said  that  some  of  these 
trees  are  two  hundred  years  old  and  sixty  to  seventy  feet  in  height. 

The  house  stands  among  the  locusts,  calm  and  complacent,  as  of  a 


241 


242 


THE  GARDEN  VIEW  SHOWS  THE  FRONTAGE  DRAMATICALLY  FRAMED  BY  FOUR  HUGE  LOCUST  TREES 

The  house  stands  well  above  the  meadow.  The  picture  is  taken  from  the  fountain  on  the  lower  terrace  with  ivy  mantling  the  slope. 
It  shows  the  locust  trees  that  have  remained  undisturbed  and  those  recently  moved  side  by  side,  a tribute  to  the  skill  of  the  planter 


HOME  OF  MR.  E.  L.  WINTHROP,  Jr.,  SYOSSET,  L.  I. 


243 


form  of  colonial  architecture  associated  with  the  time  of  George  II,  and  is 
singularly  free  from  any  affectation  or  enrichment  that  could  well  he  escaped. 
It  is  not  by  any  means  a large  house,  though  it  is  big  in  idea,  well  propor- 
tioned, recalling  in  many  ways  the  dignified  outline  of  houses  built  in  Vir- 
ginia and  New  England  in  the  early  days.  There  is  to-day  in  Rhode  Island, 
not  far  from  Pawtucket  and  well  within  sight  of  the  picturesque  river 
which  for  a long  time  was  the  theater  of  discussion  regarding  the  state  boun- 
dary of  Connecticut,  a building  of  this  character  known  as  Starkweather 
House.  The  graceful  door-head  at  the  entrance  resembles  a delightful  lit- 
tle house  built  in  the  County  of  Kent,  England,  for  a venerable  physician 
during  the  time  when  George  was  King,  and  some  of  the  detail  here  speaks 
eloquently  of  the  conscientious  study  of  the  carpentry  work  of  the  period. 
For,  of  course,  we  must  remember  that  as  wood  was  the  logical  and  histor- 
ical predecessor  of  architecture  in  stone  the  student  of  classic  orders  would 
not  find  much  difficulty  in  adjusting  his  projections  and  structure  to  forms 
derived  from  early  buildings. 

Mr.  Winthrop’s  house  is  built  of  wood  and  brick.  The  illustrations 
show  the  northern  and  southern  frontage,  a picturesque  corner  of  the  upper 
terrace  and  the  irregular  outline  of  the  rugged  old  apple  trees  which  bring 
into  prominence  the  stately  proportions  of  the  doors  and  windows.  The 
house  stands  upon  a broad  terrace  paved  with  brick  set  upon  edge  in  her- 
ring-hone pattern.  It  has  among  other  attractive  features  an  interesting 
five-sided  porch  at  the  easterly  end  and  a sunken  court  which  opens  direct 
from  the  central  hall  on  the  southerly  side. 

The  walls  of  the  library,  drawing  and  dining  rooms  are  panelled  in  wood 
which  has  been  painted  a dull,  warm  gray  with  a little  tendency  towards 
apple  green  and  white,  which  goes  so  delightfully  with  the  old  eighteenth 
century  English  mahogany  furniture.  The  floors  are  of  oak  and  the  man- 
telpieces are  old  examples  of  good  work  which  have  been  incorporated  in 
tlie  general  scheme  in  an  unaffected  manner. 

In  an  ingenious  way  and  somewhat  unusual,  the  service  drive  passes 
directly  from  the  highway  under  the  stable  to  the  rear  entrance  of  the  house 
and  is  screened  by  old  cherry  and  cedar  trees  and  in  places  by  a long  privet 
hedging  which  runs  between  the  locust  trees  and  shares  also  the  shade  with 
the  spice  bush.  White  lilacs  line  the  main  roadway  to  the  front  door.  They 
in  turn  are  hacked  by  pine,  cedar  and  dogwood.  Care  has  been  taken  to  piece 
out  and  restore  what  little  damage  has  occurred  from  locating  the  flower  gar- 
den at  the  far  end  of  the  apple  orchard,  and  to  the  locust  trees  on  the  south- 
ern terrace  have  been  added  two  others,  lining  up  carefully  with  the  rest  of 
them.  The  transplanting  is  of  itself  an  important  part  of  the  scheme. 


244 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


Sketch  shows,  kindergarten  fashion,  principal  rooms  by  letters.  A is 
library,  B drawing  room,  C dining  room,  and  D entrance  hall.  E is  the 


SKETCH  PLAN  OF  PROPERTY,  WITH  HOUSE,  ORCHARD  AND  DRIVEWAY 

The  drawing  shows  the  old  orchard,  which  is  now  enclosed,  and  the  locust  trees  shading  the  new 
sunken  court,  near  which  the  house  has  been  built,  commanding  an  extended  view  of  the  valley 


little  room  in  line  with  central  hall  which  by  its  very  name  and  association 
is  prominent  to  every  house  lover  and  known  as  morning  room.  F is  porch 
on  same  axial  center  as  flower  garden  in  middle  of  old  orchard. 


HOME  OF  MR.  E.  L.  WINTHROP,  Jr.,  SYOSSET,  L.  I. 


245 


The  flower  garden  consists  of  roses  and  perennials.  The  evergreen  gar- 
den within  the  sunken  court,  the  banks  of  which  are  covered  with  ivy,  is 
accented  by  a fountain.  It  is  a fountain  with  three  overflows  extending 
into  half  circular  saucer-like  depressions  sunken  into  the  lawn.  Following 
the  outer  line  of  the  court  is  a broad  border  of  hibiscus,  rose  of  Sharon  and 
at  stated  intervals  bushes  of  honeysuckle  and  locust  trees  some  thirty  feet 
in  height,  indicated  on  plan  by  letters  L.T. 

The  architect,  painter-like,  has  here  remembered  the  value  of  so  repeat- 
ing certain  plants,  shrubs  and  trees  as  to  form  a link-like  connection  running 
through  the  various  decorative  shapings  of  the  property,  unifying  and  hold- 
ing everything  together.  Painter-like  he  has  realized  the  importance  of  green 
of  varying  textures  and  tones  as  a setting  for  white.  This  is  to  lie  seen  in 
the  designing  of  the  fountain  where  the  thin  stream  is  encouraged  to  bubble 
over  the  central  bowl,  running  down  into  the  saucers  sunken  into  the  lawn. 
This  little  movement  of  crystal  is  of  service  to  the  birds,  giving  them  a de- 
lightful surprise  at  times  in  the  freshet  season  of  the  year  and  is  a p leasing 
climax  glistening  brilliantly  when  the  sun  shines  upon  it.  The  general 
scheme  is  also  clever  be- 
cause it  shows  the  value 
of  a few  splashes  of  bril- 
liant color  among  the  old 
apple  trees,  giving  the 
visitor  something  to  look 
at  under  the  low  shadows 
cast  by  the  branches  which 
unite  overhead.  And  of 
course  the  green  brings 
out  the  white  of  the  house 
itself.  Garter-fashion 
does  the  brick  paving 
run  round  the  house,  ap- 
pearing as  a parapet  wall- 
ing to  the  front  terrace 
and  again  to  the  flight  of 
steps  descending  into  the 
court.  This  valuable  note 
of  red,  dull  and  low  in 
tone,  always  beautiful 
among  the  green,  appears 
as  pavement  of  the  porch. 


A PLEASING  CORNER  ON  THE  UPPER  TERRACE 
The  ragged  apple  tree  emphasizes  the  stateliness  of  the  house 


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Mrs.  P.  F.  Collier’s  Home,  Southampton,  L.  I. 

Warren  & Clark,  architects 

Illustrations  from  original  drawing  and  photographs  by  Floyd  Baker 

HERE,  again,  in  the  home  of  Mrs.  P.  F. 
Collier,  at  Southampton,  L.  I.,  is  a 
house  that  is  distinctly  American  in  idea. 
That  is,  it  fits  in  with  the  landscape,  growing 
from  the  ground  up.  Yet,  in  its  contriving  and 
general  manipulation,  it  is  rich  with  traditions 
and  memories  of  former  methods  of  designing. 
So  it  is  old,  even  venerable,  as  well  as  distinctly 
new  in  that  it  fits  not  alone  with  this  particular 
section  of  the  countryside,  but  has  a personal 
flavor  as  well.  It  recalls  the  delightful  old  houses 
and  cottages  of  the  early  Colonial  days  and  their 
graceful  personality  of  which  no  one  ever  wearies. 
It  is,  if  it  he  classed  appreciatively,  the  warmly 
human  style  of  a period  in  the  history  of  this  country  which,  above  all  things, 
dealt  with  a veneration  for  frankness,  simplicity,  wholesomeness  of  ideal  and 
a remarkable  love  for  the  great  outdoors  and  the  ability  to  reach  the  very 
heart  of  things. 

In  many  ways  does  this  property  recall  the  New  Jersey  home  of  Mrs. 
Collier’s  son.  Mr.  Robert  J.  Collier  has  recently  built  a house  that  is  the 
product  of  the  ever-timely  love  of  the  country  for  its  own  sake.  This  Long 
Island  house  of  Mrs.  Collier  is  compact  and  low.  It  is  kept  close  to  the 
ground.  It  is  well  built  and  well  drained.  It  has  a good  foundation  and  cel- 
lar and  outside  porch  at  the  level  of  the  ground  leading  to  a pergola.  Shelter- 
ing the  windows  of  the  kitchen  a covered  lean-to  trellis  extends  from  the 
dining-room  through  a gateway  into  the  service  yard.  It  is  claimed  by  the 
tendrils  and  flowers  of  the  wistaria.  There  are  many  unexpected  little  contri- 
vances for  the  enjoyment  of  quiet  luxury.  Tucked  away,  somewhat  out  of 
sight,  protected  by  a low  walling,  is  a grandmotherly  enclosure  which  opens 
into  the  reception-room  and,  at  the  other  end,  opens  into  the  porchway  and 
again  into  the  meadow.  It  is  well  sheltered  and  full  of  sunlight.  On  the  far 
side  of  the  house  there  is  also  an  outdoor  breakfast  loggia  which  leads  from 


247 


248 


THE  NEAR  VIEW  OF  ENTRANCE  SHOWS  THE  ARCHITECT’S  CLOSE  ATTENTION  TO  DETAIL  OF  THE  PERIOD 
As  the  seasons  pass,  the  Lombardy  poplars  will  shelter  the  approach  and  the  door  heads  be  ennobled  with  rich  mantling  of  creepers 


MRS.  P.  F.  COLLIER’S  HOME,  SOUTHAMPTON,  L.  I. 


219 


the  dining-room  and  from  the  rose  garden  now  being  planted  and  is  also 
reached  from  the  rear  hallway.  It  is  a comfortable  little  home,  extravagant 
in  open  fireplaces  and  bathrooms.  An  open  fire  is  enjoyed  in  the  living-room, 
hall  and  dining-room.  In  each  case  the  fire  opening  is  lined  with  terra  cotta,  a 
decorative  contribution  from  Renaissance  Italy.  Indeed,  they  are  replicas. 
Vases  of  the  same  tone  and  material  flank  the  entrance  and  appear  as  a deco- 
rative note  in  the  garden.  The  house  opens  up  well.  The  first  impression 
is  pleasing.  A venerable  form  of  planning  has  been  followed.  The  hall- 
way extends  through  the  house.  The  main  rooms  open  right  and  left  and 
the  stairway  entrance  to  the  rooms  above  and  to  the  steps  into  the  rear  gar- 
den pass  under  archways  on  each  side  of  the  fireplace.  The  archways  are 
free  from  any  serious  architectural  note,  as  indeed  is  the  interior  throughout. 
The  floors  are  hardwood,  covered  with  rugs.  The  spirit  which  inspired  the 
designing  of  the  house  has  evidently  been  accepted  as  good  and  sufficient 
for  the  furnishing,  for  it  is  quiet,  wholesome  in  idea  and  free  from  any  for- 
mality. Here  are  rich  rugs  of  the  Orient,  full  of  color,  and  domestic  rugs 
woven  by  the  wives  of  the  farmers. 

And  as  white  is  the  general  tone  of  the  outside,  so  is  it  prominent 
within.  The  ceilings  are  lime-whited.  Light  color  of  a cool  tone  is  also 
the  note  of  the  walling.  That  of  the  rugs  is  green,  which  recalls  in  its  vel- 
vety texture  something  of  the  quality  of  the  lawn.  The  cunning  of  the 
French  is  shown  once  again  in  their  subtle  printing  of  cretonne  and  in  the 
weaving  of  the  covering  to  the  large  settee  and  the  armchair.  The  body 
of  the  draperies  to  the  casement  windows  is  biscuit-color — technically  it  is 
taffeta,  a material  well  woven  and  lasting.  Here,  diaper  fashion,  is  a bou- 
quet of  foliage  and  flowers  bright,  cheerful  in  color  and  sufficiently  conven- 
tional in  drawing  to  justify  its  use  and  make  it  available  as  a decoration. 
It  has  a piquancy  and  charm  that  are  very  acceptable.  Of  course  mahog- 
any appears  for  the  tables,  smaller  chairs  and  the  little  womanly  acces- 
sories for  books  and  low  stands  for  plants.  It  is  a rich  dark  mahogany,  a con- 
tribution from  Honduras  or  Cuba.  The  electric  lighting  appears  in  the 
ceiling  by  indirect  rays  through  inverted  saucer-like  domes. 

Grapevines  trail  over  old-fashioned  rail  hurdles  which  border  the  nar- 
row path  to  the  front  door.  It  is  the  old-fashioned  method  of  shingling, 
doing  its  best  to  spell  the  magic  word — domesticity.  It  is  a covering  which 
seems  to  endure.  There  is  an  old-time  grace  about  honesty  of  construction 
and  of  association  with  which  it  is  good  to  live. 


250 


THIS  IS  PRACTICALLY  THE  FIRST  AND  THE  BEST  VIEW  WE  GET  FROM  THE  ROADWAY 

It  is  delightfully  misleading.  Does  it  not  resemble  an  old  farmhouse  among  trees  known  for  their  fruit  and  revered  for  their  associa- 
tion? There  is  an  unmistakable  sense  of  abandon,  of  naive  simplicity,  about  the  place  that  cannot  fail  to  entertain.  Occupying  so  unas- 
suming a position  upon  Wicatunk  Hill,  this  recent  tribute  to  a citizen’s  practical  love  for  a modest  home  is  an  interesting  object  lesson 
ot  which  we  are  in  great  need.  Of  late,  many  living  in  the  great  city  beyond  have  tired  of  the  wild  extravagance  of  their  surroundings 


Mr.  R.  J.  Collier’s  Home,  Wicatunk,  N.  J. 

John  Russell  Pope,  architect 

Illustrations  from  original  drawing  and  photographs  hy  Joseph  Hall 


HE  Collier  house,  illustrated,  or,  possibly  we  should  say,  the 
idea  which  prompted  it,  comes  to  us  here  in  America  at  the 
moment  when  just  such  a presentation  is  urgently  needed. 
It  is  so  evidently  the  work  of  a man  realizing  to  the  full  the 
great  value  of  opportunity.  We  are  perpetually  talking 
about  “exquisite  simplicity,”  “largeness,”  “repose  and  whole- 
someness,” at  the  same  time  are  we  lavishing  our  money  on  house  building 
schemes,  expensive  plannings,  bespangled,  belittled  and  so  often  overfed 
with  both  attention  and  embellishment,  and  yet  those  who  think,  realize  that, 
after  all,  the  house  is  identified  closely  with  the  owner,  so  that  when  one  is  seen 
the  world  gets  a fairly  close  view  of  the  other,  and  that  the  architect  has  been, 
as  it  were,  momentarily  entrusted  with  the  personality  of  the  owner.  Cer- 
tainly there  is  personality  everywhere,  but  in  the  home,  which  stands  in  the 
open,  is  the  man  very  much  in  view  of  the  world.  It  has  been  the  privilege 
of  the  magazines  on  more  than  one  occasion  to  point  with  some  little  regret 
at  the  over-decorated  abiding  places  of  our  citizens.  Here,  to-day,  are  we 
privileged  to  present  an  admirable  essay  without  words  which  reveals  a cul- 
tivated mind  and  a reasonableness  in  so  adjusting  a house  to  a fine  old  hill- 
side property  as  to  give,  with  all  the  unconscious  charm  of  a likely  lesson, 
an  illustration  of  just  how  the  province  of  the  architect  is  related  to  our 
daily  life.  It  goes  without  saying  that  in  his  tiny  princedom  the  architect 
is  the  “whole  thing,”  but  at  best  he  is  the  servant  to  all,  certainly  servant 
to  the  living  more  than  the  dead,  and  to  the  sunshine  more  than  the  gloom  of 
ancient  proportions,  ancient  traditions.  To  him  the  needs  of  a living  fam- 
ily are  more  potent  than  the  proportions  of  a venerable  tomb.  It  is  de- 
lightful to  find  this  proper  assignment  of  building  elements  and  propor- 
tions wherein  shelter  for  the  family,  pleasingly  arranged,  has  been  given 
prominence  over  academic  ideals. 

At  first  sight  this  interesting  home  recalls  something  of  Mount  Vernon, 
and  recalls  it  because  of  the  underlying  spirit  of  good,  wholesome  planning 
and  building.  Here,  unmistakably,  is  much  of  the  method  by  which  the 
best  of  the  early  settlers  attacked  the  country  house  problem.  The  ques- 


251 


252 


THE  PORTICO  RECALLING  THE  SEVERITY  OF  THE  ONE  FROM  WHICH  MOUNT  VERNON  WAS  DESIGNED 

All  very  simple  is  this  southern  porch  from  which  the  great  panorama  of  the  distance  opens  with  its  encouraging  smile  upon  our 
time  as  on  the  generation  when  first  this  description  of  homestead  was  the  natural  limit  of  our  ideal.  Of  late,  too  much  attention  has 
been  given  to  piers  supporting  the  roofing  of  verandas  as  an  excuse  for  following  slavishly  some  academic  rule;  houses  have  been 
made  serious  and  depressing  by  columns  with  entablature  and  accompanying  cornice.  This  scheme  shows  a frank  method  of  procedure 


MR.  R.  J.  COLLIER’S  HOME,  WICATUNIv,  N.  J. 


253 


tion  was  one  of  housing  comfortably  a large  family  in  a quiet,  reasonable, 
unobtrusive  manner,  where  protection  from  climatic  changes  played  an  im- 
portant part,  where  building  materials  were  somewhat  limited  in  variety 
and  where  architectural  traditions  were  held  somewhat  in  check.  In  other 
words,  the  Robert  J.  Collier  house  recalls  much  of  the  terse,  direct  schem- 
ing and  building  to  be  still  seen  in  some  of  the  older  sections  of  our  land. 
This  State  has,  in  its  old  manor  houses,  much  of  the  proportion  and  direct 
simplicity  of  the  Old  World.  The  courtyards  of  Louisiana,  the  convents  and 
other  church  houses  of  St.  Louis,  also  echo  the  unconscious  charm  of  the 
early  Colonial  times,  wherein  the  idea  of  “getting  ahead  of  the  other  fel- 
low” and  of  making  the  house  a show-place,  did  not  seem  to  form  part  of 
the  ambitions  of  the  time.  Their  thoughts  were  given  to  more  important 
matters. 

The  frame  of  the  house  is  constructed  very  much  after  the  old  fashion, 
in  that  it  is  well  braced  and  stiffened  in  places.  It  is  also  built  in  between 
uprights  and  deadened  between  floors.  Joists  are  well  bridged,  and  for 
spaces  where  bearings  are  longer  than  usual,  iron  or  rather  rolled  steel  girders 
are  used.  Noticeable  is  this  in  the  span  over  the  court.  Here  a large  girder 
carries  the  floor  of  the  attic,  bearing  its  share  of  the  roof  timbers.  Advan- 
tage is  taken  of  the  elevation  of  the  roof  and  its  length  and  prominence  to 
make  of  it  a “lookout.”  This,  however,  is  railed  round  in  an  unassuming 
manner,  making  it  amply  secure,  but  not  as  if  trying  to  “do  stunts.”  The 
pillars  in  front  of  the  house  are  simply  square  box  shafts,  forming  a part 
of  the  framework  of  the  whole.  They  are  well  contrived,  well  braced,  and 
they  occupy  a very  prominent  and  important  part  of  the  scheme.  In  size 
they  are  not  unlike  the  pillars  at  Mount  Vernon.  They  stand  upon  good, 
up-to-date  foundation— indeed,  foundation  is  a word  which  is  respected  here 
in  its  healthiest  sense.  The  house  has  liberal  cellarage,  which  in  turn  is 
concreted  and  serviceable.  The  rooms  are  heated  by  indirect  radiation,  which 
avoids  pipes — an  eyesore  to  every  cultivated  mind.  And  electric  light  is 
switched  on  from  convenient  places.  The  Availing  of  many  of  the  vestibules 
is  lined  with  cypress  wainscoting.  White  wood  wainscots  the  smoking-room 
from  floor  to  ceiling,  which  is  subdivided  and  made  useful  by  the  adroit  addi- 
tion of  cupboards  and  shelving  where  likely  to  he  of  A^alue.  The  panelling 
is  painted  with  light  gray  color,  a mixture  of  oil  and  varnish,  and  has  a gen- 
eral tendency  towards  the  green  of  which  none  of  us  eA^er  tire.  Regarding 
the  mouldings  of  the  rooms,  the  triumph  alike  of  the  architect  and  as  a rule 
no  little  pride  for  the  housekeeper,  there  is  and  there  is  not  Arery  much  to 
say.  Not  that  they  are  conspicuous  by  their  size  or  their  outline,  by  their 
material  or  color,  but  that  they  are  good  and  sufficient  and  are  so  evidently 


254 


MR.  R.  J.  COLLIER’S  HOME,  WICATUNIv,  N.  J. 


255 


designed  with  regard  to  the  peculiar  function  of  their  daily  purpose.  There 
is  and  always  will  he  about  wall  mouldings  of  this  type  and  character  a close 
affinity  with  the  very  chairs,  tables  generally  classified  as  furniture.  In  a 
word,  one  of  the  great  secrets  of  the  Colonial  heritage  is  the  sacredness  of  the 
material  employed.  From  start  to  finish,  Colonial  homes  are  primarily  of 
wood,  and  as  such  are  treated  frankly,  freely,  without  affectation.  And  when 
once  in  a while  some  one  ventures  a momentary  reproduction  of  marble  by 
the  broad-minded,  he  is  not  taken  too  seriously!  It  is  this  comradeship  be- 
tween surface  wall  treatment  and  isolated  furniture,  so  generally  called, 
that  makes  us  so  much  at  home  in  a house  of  this  period.  Of  course,  in  our 
modern  civilization  and  extravagance,  chairs  and  tables  have  become  isolated, 
expensive,  highly  finished,  highly  polished,  generally  overdone.  They  have 
run  away  from  the  walling,  and  both  have  suffered  greatly  in  consequence. 
The  Collier  house  is  also  to  be  congratulated  on  its  electric  light  fittings, 
in  that  they  give  light,  yet  are  practically  out  of  sight  and  very  apt  to  es- 
cape notice.  They  are  small,  usually  of  glass.  The  mountings  are  incon- 
spicuous and  do  not  “count.”  The  color  scheme  is  rich  and  fulsome.  It  is 
well  selected  and  well  placed  and  well  restrained.  For  instance,  the  chair 
seating  to  the  smoking-room — a big,  liberally  drawn  China  rose,  rich  and  red. 
is  to  be  seen  with  its  wonderful  green  leaves  upon  a black  ground.  The 
prevailing  color  note  of  the  drawing-room  is  green,  with  tones  of  “old  rose,” 
while  that  of  the  hall,  with  its  quaint  French  forest  scenery,  printed  upon 
paper,  smiles  upon  the  visitor  in  tones  of  green,  low  in  color  and  beautifully 
mellowed.  This  green  of  the  apple  appears  in  many  parts  of  the  house  and 
seems  to  have  a sort  of  partnership  with  the  creamy  white  of  the  woodwork 
to  the  chambers.  The  walls  of  the  bedrooms  are  papered  each  after  a certain 
set  idea  and  each  with  cretonne  draperies  to  match,  or,  at  any  rate,  to  har- 
monize. The  charming  days  of  our  grandmothers  are  in  no  way  forgotten, 
and  many  of  their  admirable  schemes  are  here  visible  in  the  bedspreads, 
counterpanes,  trimmings  generally.  The  materials  are  full  of  color.  The 
patterns  occasionally  large,  vigorous;  the  color  of  the  French  confectionary 
certainly  has  but  little  place.  The  wall  surfaces  are  restrained  and  quiet, 
but  color  is  everywhere  else  and  it  appears  possible  more  than  in  most  places 
in  the  rag  carpets  of  the  fioor — a commodity,  by  the  way,  which  used  to 
drive  Morris  to  distraction! 

The  plan  shows  vividly  the  original  orchard  and,  with  but  slight  modi- 
fication, the  house  has  been  added  and  certain  roads  laid  out.  The  plan  indi- 
cates the  fence  line  also  and  the  outline  of  the  apple  trees  and  the  portion 
which  remains  green  lawn  or  meadow  land.  It  gives,  briefly,  what  little 
additional  planting  has  been  undertaken.  On  each  side  of  the  southern  porch 


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257 


THE  OTHER  END  OF  THE  ENTRANCE  HALL  OPENS  ON  THE  LONG  SOUTHERN  PORCH 

The  view  also  shows  detail  of  stairs,  treatment  of  corner  closets,  the  lower  panel  of  which  conceals  a radiator.  The  domestic 
strip  rugs  of  the  period,  which  cover  the  tloor,  are  full  of  quaint  coloring,  melting  together  acceptably.  These  serviceable  floor  coverings 
are  human  documents  woven  by  farmers’  wives  in  long  winter  evenings.  How  many  reputations  would  survive,  were  they  imbued  with  speech? 


258 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


a large  elm  tree  has  been  set.  Letter  Iv  indicates  the  brow  of  the  hill, 
from  which  the  ground  runs  rapidly  down  into  the  valley.  A shows  the  main 
hall,  B the  drawing  room  and  C the  room  set  apart  for  dining.  Letter  D 
denotes  the  center  of  the  man’s  domestic  activities  and  is  relegated  by  him 


ROUGH  SKETCH  OF  PART  OF  HILL  ON  WHICH  HOUSE  AND  ORCHARD  STAND 

It  should  be  noted  that  the  old  apple  trees  remain  undisturbed  and  that  the  road  cuts  in  between 
them.  The  lofty  elms,  flanking  the  southerly  porch  and  the  box  bushes  at  the  head  of  the  entrance 
roadway  have  been  replanted.  Some  of  them  have  endured  the  varying  seasons  for  three  generations 


to  the  dreamland  of  smoke.  It  is  panelled  from  door  to  ceiling,  with  closets 
and  shelving.  E and  E denote  guest-rooms  and  G is  for  them  a private  hall 
and  entrance.  H marks  the  center  of  the  cook’s  domain,  the  kitchen,  and  I 
of  the  hall  for  the  servants.  Stepping  outside  again  for  a moment  we  are 
not  surprised  to  learn  of  the  rose  garden  now  being  completed  in  a sheltered 


MR.  R.  J.  COLLIER’S  HOME,  WICATUNIv,  N.  J. 


259 


portion  of  the  property,  visible  at  a distance  and  hedged  around  and  set 
out  academically.  Those  who  do  not  have  the  privilege  of  visiting  here  may 
have  the  pleasure  of  knowing  that  the  adjoining  hill  husbands  the  grave  of 
the  father  of  Mr.  Collier.  It  also  is  a beautiful  site,  and  here  the  tomb  ven- 
erates also  the  serious  architectural  proportions  of  the  classic  times.  I doubt 
very  much  if  up-to-date  methods  could  improve  the  classic  method  of  re- 
cording the  departed. 

Primarily  it  is  the  country  house  of  a man  big  enough  to  be  simple  and 
reasonable  in  his  taste  and  superbly  indifferent  to  what  the  fashionable  world 
may  say.  Hence  much  of  its  charm.  It  stands  here  high  on  the  wind-swept 
bluff,  overlooking  the  surrounding  country,  partly  concealed  by  stunted 
apple  trees  which  lean  over  just  a little  in  one  definite  direction,  a mute 
testimony  to  the  industry  of  the  prevailing  wind.  These  apple  trees  do 
much  to  tie  the  place  to  the  ground.  They  are  not  like  some  of  the  mountain 
pines,  spruce  or  hemlock  or  other  majestic  monarchs  that  look  up,  superior 
to  all  that  transpire  below,  regarding  apparently  only  the  limitless  reaches 
of  the  eternal  sky,  but  they  are  more  human-like,  bringing  into  the  scene 
not  only  shade  and  fruit,  but  a singular  charm  discernible  alike  in  their 
drawing,  their  leafage,  their  quiet  murmur  when  fretted  by  a passing  breeze, 
wherein  they  occasionally  tap  against  the  window  pane.  They  do  many 
other  things  to  spell  the  magic  word  domesticity. 

The  directness  of  the  planning  is  shown  also  in  the  hall,  with  its  double 
stairway — note  in  passing  the  impertinence  of  the  circular  handrailing  balus- 
trading  and  the  rest  of  it  without  a single  moulding  of  any  description.  The 
ceilings  are  surrounded  by  a margin  more  than  a moulding,  the  windows  are 
well  proportioned  and  well  spaced;  of  course  they  are ! Was  not  proportion 
the  dominating  text  of  the  colonists’  philosophy?  The  arched  entrances  to 
the  principal  rooms  would  drive  the  ordinary  architect  furious,  because  they 
are  “too  squat”  and  don’t  carry  anything  in  his  sense.  The  rugs  follow  the 
old  rag-carpet  idea  without  deceiving  anyone.  The  entrances  from  the  hall 
into  the  family  rooms  are  decorated,  or  rather  treated  or  reduced  if  you  will, 
humanized  or  softened  should  you  prefer,  by  plain  valences  and  draperies 
of  good  woven  linen  on  which  quaint  patterns,  French  in  origin,  but  Oriental 
in  a measure,  have  been  carefully  printed  in  divers  well-arranged  colors. 
The  original  floor  of  this  house,  good  enough  for  any  king  in  any  land,  re- 
mains frankly  the  background  for  the  rugs.  There  is  here  no  parquet,  no 
false-fronted  thin  slivering  of  veneer.  Hut  it  is  a furnished  house,  and 
there  is  the  whole  story.  It  is  a furnished  house,  not  a collection  of  furni- 
ture that  compels  or  challenges  comparison  with  an  assemblage  of  fur- 
niture of  the  store.  I doubt  very  much  if  any  enterprising  merchant 


260 


IN  ITS  BREADTH  AND  SIMPLICITY  THE  DINING-ROOM  HAS  MUCH  OF  THE  SPIRIT  OF  COLONIAL  DAYS 


MR.  R.  J.  COLLIER’S  HOME,  WICATUNK,  N.  J. 


2(51 


“unloaded”  many  of  his  showrooms  upon  the  distinguished  owner  of  this 
hospitable  home  on  the  hillside. 

In  the  building  there  is  not  a single  feature  spelling  architecture  alone 
as  such  and  nothing  more.  The  accent  is  rather  upon  the  life  of  the  coun- 
try and  the  principle  that  homes  are  built  to  be  lived  in  and  in  no  sense  an 
excuse  for  display  or  a furtherance  of  any  particular  style  or  school.  All  of 
which  means  that  here  there  is  to  be  seen  more  man  and  less  architect 
than  is  usual,  and  creditable  it  is  to  feel  how  splendidly  this  particularly  val- 
ued citizen  has  kept  in  abeyance  the  stern  rules  of  his  training  and  tradi- 
tions. It  will  always  be  remembered  by  the  visitor  as  a home  for  a lover 
of  the  country,  and  he  will  recall  with  pleasure  and  astonishment  possibly 
the  long  boxed  pillars,  piers,  imposts,  what  you  will,  which  are  so  much 
in  evidence  at  the  northern  and  southern  frontages  usually  occupied  by  mas- 
sive columns  and  heavy  entablature  which  cast  too  often  an  overwhelming 
shadow  over  everything,  setting  the  pace,  and  owning  the  house  and  the 
people  within  and  around.  Was  it  not  the  purifying  influence  of  Colonial 
days  that  cleansed  our  architectural  ambitions,  relegating  to  the  tombs  and 
city  halls  the  dignified  column  with  its  court  of  uncompromising  members  and 
preserving  intact  the  pier — a portion  only  of  the  main  framing — and  ad- 
mitting the  sunshine,  the  brightness,  the  air,  preferring,  in  a word,  men  and 
women,  not  architectural  elements  as  accents?  This  is  a Colonial  house,  freed 
from  technical  mysteries.  There  is  about  the  roof  lines  as  about  the  liberal 
porch  and  corridor  a simplicity  and  marked  air  of  refinement  which  comes 
from  using  the  natural  speech,  as  it  were,  of  the  countryside.  It  must  not 
he  taken  from  this  that  there  is  in  this  composition  any  superior  air  which 
acclaims  itself  a thing  apart  from  other  houses  or  other  ideals.  There  is  not 
anything  here  which  says  “Yea,  verily  behold,  I am  greater  than  many 
others.” 

It  is,  of  course,  generally  acknowledged  that  the  home  is  the  theater 
of  man’s  hospitality.  It  sounds  trite,  but  it  isn’t;  it’s  the  whole  thing.  The 
home  is  a kind  of  private  princedom,  an  epitome  of  the  whole  world,  of 
which  he  is  a part  and  in  which  he  reflects  himself  as  he  essays  to  entertain 
his  guests.  He  is  not  asked  to  lecture  practically  upon  architecture;  he  is 
a citizen  of  the  world  and  steward  of  the  Father,  engaged  in  nobler  things. 


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262 


attraction  to  the  requirements  of  the  occasion,  the  shape  of  the  property  with  its  ancient  boundary  line.  Following  the  time-honored  pre- 
cedent, the  outline  of  this  engaging  place  is  shaped  by  the  rambling,  the  tireless  little  brook  at  the  far  side  of  the  house 


FROM  A NEAR-BY  FENCE  THE  MOST  ENGAGING  PICTURE  CAN  BE  ENJOYED 
With  much  of  the  old-time  flavor  of  a former  generation,  a haphazard  assemblage  of  outlines 


Mr.  E.  R.  Newell’s  Home,  Greenwich,  Conn. 

Warren  & Clark,  architects 

Illustrations  from  original  drawing  and  photographs  by  Floyd  Baker 

IT  is  from  the  edge  of  a neighboring  boundary  that  the  most  engaging  pic- 
ture of  the  little  place  is  to  he  enjoyed.  It  is  best  seen  looking  from  a 
slight  elevation  even  if  you  have  to  push  aside  the  rose  bushes  to  get  a 
peep,  catching  an  outline  of  the  roof,  noting  the  silver  gray  of  the  shingling, 
the  way  it  overlaps  the  rough  stone  of  the  walling  and  the  delightful  man- 
ner in  which  the  garage  is  added  to  the  house,  built  on,  as  it  were,  at  an 
an  ale  extendina'  the  line  of  the  kitchen.  All  this  is  very  beautiful  and 
might  well  be  the  home  of  a former  generation,  bringing  as  it  does  an  old- 
time  flavor  to  everything.  The  windows  are  delightfully  haphazard,  permit- 
ting a view  of  the  long  wooded  roads  and  the  hills  of  the  neighborhood. 
At  times  the  chilly  mist  blows  in  from  the  Sound.  The  property  is  in  the 
best  section  of  Greenwich,  Conn.,  fronting  Riverside  Drive  and  but  a mile 
from  salt  water. 

203 


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264 


MR.  E.  R.  NEWELL’S  HOME,  GREENWICH,  C ONN. 


265 


And  not  a little  does  it  recall  the  wayside  hostelries,  the  little  inns  in 
unfrequented  sections  of  the  valley  of  the  Thames.  We  remember  instinc- 
tively Folly  Bridge  and  Marlow,  Mapledurham,  Pangbourne  and  the  vicin- 
ity of  Henley  and  Sonning.  It  is  a shrimp  of  a place,  small  in  its  inches, 
big  in  its  comfort  and  hospitality.  There  is  a cozy  feeling  about  everything 
as  the  work  of  a man  big  enough  to  forget  purposely  the  rules  of  serious 
architectural  customs  and  traditions.  Here  they  have  certainly  been  defined 
in  a glorious  manner.  The  site  is  unusual,  the  opportunity  fit  for  a poet. 
It  is  no  place  for  a prosaic  person.  It  is  somewhat  hilly  and  beautifully 
wooded.  Through  the  locality  a brook  winds  which  lias  been  spanned  by  a 
bridge,  hooded  after  an  ancient  custom.  The  southern  entrance  is  long  and 
narrow,  and  it  will  be  remembered  for  its  venerable  oak  tree,  the  lower 
branches  of  which  give,  as  it  were,  a gracious  benediction  to  the  passerby,  for 
they  extend  almost  to  the  ground.  The  house  stands  upon  a ridge  or  ledge ; 
the  foundations  have  been  blasted  out  of  the  solid  rock  and  the  stone  used 
for  the  building  of  the  lower  story,  the  chimneys,  the  walling  surrounding 
the  garden  and  the  approach  to  the  garage,  which,  by  the  way,  is  proof 
against  fire — a commendable  caution. 

The  entrance  has  the  stone-pillared  and  stone-floored  porch  with  the 
long  deep  bench  of  the  wayside  inn  character,  and  in  the  veranda  and  at  the 
end,  which  embraces  the  big  chimneys  of  the  living-room,  there  is  an  open 
roofing,  the  rafters  of  which  will  shortly  become  a rich  canopy  of  color 
owned  by  the  creepers.  Rough  stones  from  the  original  ledge  have  also 
been  used  as  pavement  elsewhere,  and  the  various  levels  of  the  property 
reached  by  means  of  steps,  wide  and  liberal  in  their  inches.  The  mason 
found  in  this  an  interesting  material  of  considerable  value,  making  an  admir- 
able bond. 

The  plan  of  the  house,  as  well  as  of  the  garden,  is  the  logical  outcome 
of  the  site  in  that  it  has  had  to  be  adjusted  to  the  varying  levels.  It  might 
be  known  as  the  site  with  a ledge  of  rock  and  a forty-five  degree  angle  slope. 
Upon  the  ledge  the  house  stands  and  the  slope  has  been  “taken  care  of”  by 
skilful  planning  in  a picturesque  fashion;  that  is,  the  house,  the  terrace,  the 
walling  unite.  They  establish  in  a way  a certain  definite  level  wherein  part 
of  the  circular  walling  of  the  garden  appears  some  six  feet  or  more  in 
height  and  again  it  runs  out  flush  with  the  ground. 

It  is  by  means  of  a number  of  steps  from  the  circular  entrance  court 
that  the  hall  is  reached,  extending  through  the  little  place  and  out  into  the 
northern  porch,  down  additional  steps  to  the  lower  terrace  and  so  down  the 
sloping  lawn  to  the  valley  crossing  the  brook  to  the  lower  road.  The  large 
living-room  and  little  dining-room  open  from  the  hall.  The  former  has  the 


266 


MR.  E.  R.  NEWELL’S  HOME,  GREENWICH,  CONN. 


267 


square,  old-fashioned  fireplace  capable  of  burning  whole  logs.  The  mantel- 
shelf is  supported  by  four  grotesquely  carved  brackets  gargoyle  fashion, 
which  turn  their  ape-like  heads  so  as  to  carry  the  weight.  Here  pewter 
porringers  and  beakers  and  quaintly  contrived  vases  find  temporary  lodg- 
ment, and  a clock,  Dutch-like  in  its  decoration  and  outline.  Under  the  win- 
dow a huge  mahogany  sofa  is  seen ; we  are  tempted  to  drop  into  a seat  and 
listen  to  the  brook.  It  is  a place  to  brood  over  things.  The  picture  is  un- 
usual both  within  and  without;  it  is  tempting.  The  frank  acceptance  of 
varying  levels,  the  charm  of  looking  down  upon  an  undulating  lawn  is  very 
pleasing  when  viewed  from  the  window,  as  it  was  from  the  neighboring  ter- 
race. Here,  between  the  chestnuts,  rock  maples  and  red  oaks,  the  roadway 
is  seen.  Planted  by  nature  or  sympathetically  by  the  gardener  is  the  red- 
berried  elder,  the  sugar  maple  and  bushes  of  rhododendron  which  border 
the  brook. 

Within,  the  picture  is  interesting.  The  living-room  is  well  placed  and 
of  goodly  size.  In  a way  it  is  a shelter  from  the  storm,  from  the  heat  of 
the  sun,  from  severely  searching  wind,  and  is  so  built  into  the  ground  as 
to  be  verily  a portion  of  the  rocky  ledge.  There  is  a strange  fascination 
of  being  under  ground ! 

The  southern  side  of  the  room  is  several  feet  below  the  level,  the 
northern  side  is  an  exalted  balcony  from  which  a whole  panorama  opens 
up.  We  look  down  upon  the  world  from  the  north.  Considerable  atten- 
tion has  been  given  to  the  ceiling  of  the  room;  it  is,  in  the  parlance  of  the 
workshop,  “laid  off”  in  panels  countersunk  in  some  way  after  an  ancient 
method  of  the  craft,  and  into  the  plaster  color  has  been  added.  The  texture 
is  very  rough  and  free,  going  admirably  with  the  general  scheme  of  things. 

The  upper  floor  is  very  comfortable 
with  its  liberal  accommodation  for  the 
family  and  service.  The  space  is  ad- 
mirably subdivided  and  includes  among 
other  things  four  bathrooms  and  rooms 
in  the  attic  and  a sleeping  porch.  The 
property  has  the  rare  quality  of  bright- 
ness and  gladness,  the  feeling  of  seclu- 
sion when  so  desired,  and  yet,  of  seeing 
far-off  vistas  of  great  charm.  This  ro- 
mantic hostelry  stands  back  from  the 
roadside.  Still,  it  is  an  inn.  the  charges 
of  which  are  reasonable,  the  payment 
but  a smile  from  Dame  Hostess. 


ROUGH  SKETCH  PLAN  OF  HOUSE 

It  is  a good  little  place  to  live  in.  The 
house  is  so  adjusted  to  the  site  as  to  bring 
into  the  picture  views  from  various  angles. 
The  sketch  shows  only  a portion  of  property 


268 


SUNSHINE,  SHADOWS  AND  TREES  SHARPLY  SILHOUETTED  AGAINST  A CLEAR  SKY 
This  Bennington  homestead  is  more  formal  than  the  “roof-trees”  defended  by  the  Green  Mountain  boys  and  the  New  Hampshire  minute-men 


DETAIL  OF  DINING-ROOM  BAY  AND  PORCH 

At  the  threshold  are  apple  trees  from  the  original  orchard.  They  bring  to 
the  scene  shade  and  a singular  charm  in  their  drawing,  leafage,  and  quiet 
murmur  when  fretted  by  a passing  breeze.  The  clapboarding  is  old-fashioned 


Home  of  Mr.  P.  B.  Jennings,  Bennington,  Vt. 

Albro  & Lindeberg,  architects 

Illustrations  from  original  drawing  and  photographs  by  Julian  Buckly 


THIS  Bennington  homestead  has  many  surprises.  It  is  unusual.  This 
is  to  he  seen  at  a glance.  It  is  a clever  house  and  well  worthy  of  re- 
gard. Not  simply  because  it  is  more  formal  than  the  Colonial  “roof- 
trees”  of  Revolutionary  days,  which  were  so  persistently  defended  by  the 
Green  Mountain  boys  and  the  New  Hampshire  minute-men,  fighting  val- 
iantly for  their  liberty,  for  the  privilege  of  self-government  and  for  political 
independence,  but  because  of  its  up-to-date  ideas  and  method  of  construction. 


269 


270 


The  monument  marking  the  scene  of  the  Battle  of  Bennington  during  the  Burgoyne  campaign  is  well  within  sight  of  the  house.  Still, 
is  not  the  house  the  greater  monument,  the  one  most  satisfying,  in  that  it  shows  that  our  architects  are  extending  as  well  as  broadening 
their  view,  and  that  they  are  enriching  our  homesteads  by  this  reassimilation  of  the  underlying  principles  of  much  of  the  Colonial  sim- 
plicity, by  their  reverence  for  old  sites  not  only  for  their  historic  value,  but  for  the  practical  service  they  render  as  a decorating  and  worthy 
background  to  our  homes?  This  is  a lesson  it  were  wise  for  others  to  follow  in  different  sections  of  this  great  country  of  ours 


HOME  OF  MR.  P.  B.  JENNINGS,  BENNINGTON,  VT. 


•271 


The  frame  of  this  type  of  house  is  usually  of  heavy  timbers,  oak,  chestnut 
or  birch,  with  the  space  between  the  frame  filled  with  brickwork  or  some 
primitive  form  of  concrete,  covered  with  clapboarding  or  shingling. 

In  this  Vermont  home  of  Mr.  Philip  B.  Jennings  the  frame  is  of  steel. 
So  it  could  be  re-clapboarded  one  hundred  years  hence  and  still  again  at 
the  end  of  the  next  century.  It  is  known  technically  as  a semi-fireproof 
building.  As  a tribute  to  the  traditional  method  of  the  locality,  wherein  a 
white  house  has  been  found  to  express  satisfactorily  the  spirit  of  happiness 
and  contentment  of  New  England,  this  form  of  covering  has  been  accepted. 
While  it  is  Colonial  in  general  idea,  the  loggia  at  each  end  of  the  house, 
the  position  of  the  entrance,  the  service  wing  and  the  rest  of  it,  speak  well 
for  modernity.  The  bays  are  medieval.  It  was  through  the  open  case- 
ments of  this  form  of  window  that  “bluff  King  Hal,"  the  most  conspicuous 
figure  in  England’s  history,  is  said  to  have  continued  his  numerous  flirta- 
tions. For  in  the  summer  the  window  was  the  center  of  attraction,  as  was 
the  fireplace  in  the  winter.  Are  we  not  also  indebted  to  France  for  the  ex- 
tension of  the  casement  to  the  level  of  the  floor,  making  the  garden  more 
easy  of  access?  And  so  the  composition  is  indeed  eclectic.  The  house  is 
good  iu  appearance,  utilitarian  and  very  practical. 

In  plan  the  building  is  L-shaped,  with  the  entrance  upon  the  northern 
side,  through  an  open  court.  The  family  assembled  upon  the  southern  ter- 
race is,  therefore,  undisturbed  by  any  arriving  or  departing  guests.  The 
dining-room  is  on  the  easterly  end,  connecting  with  the  service  wing  di- 
rectly. It  has  also  an  interesting  vista  through  the  various  rooms.  The 
morning-room,  library  and  the  loggia  at  each  end  of  the  house  are  all  open 
and  directly  connected. 

The  same  spirit  of  the  early  colonies  has  been  preserved  in  the  interior 
in  the  decorations  and  the  furnishing  in  that  the  tables  and  chairs  are  re- 
produced from  well-known  examples  and  a certain  stateliness  secured  by  the 
elimination  of  extravagant  ideas,  so  frequently  affected  in  more  costly 
buildings.  'There  are  no  heavy  brocaded  lambrequins,  no  costly  upholstery 
to  window  or  door  openings.  Remembering  the  long  winters,  considerable 
care  lias  been  bestowed  upon  the  method  of  heating.  The  radiators  are 
concealed;  that  is,  they  are  built  behind  gratings,  forming  a deep  recess  in 
the  wall,  and  are  often  embodied  in  the  window  sills.  The  general  tone 
within  is  cool  green  and  white,  and  warm  gray  and  white,  with  an  occasional 
accent  of  full-toned  rose,  violet  and  heliotrope. 

The  Bennington  property  has  belonged  to  the  family  for  many  years. 
The  former  homestead  was  destroyed  by  fire  a long  time  ago.  A portion  of 
the  original  apple  orchard  and  the  big  elm  trees  remain.  The  historical  set- 


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272 


HOME  OF  MR.  P.  B.  JENNINGS,  BENNINGTON,  VT. 


273 


ting  of  the  place  is  very  interesting,  situated  as  it  is,  some  thirty  miles  from 
Fort  Edward,  on  the  western  slope  of  the  Green  Mountains.  The  house  is 
but  a few  hundred  feet  from  the  site  of  the  spirited  encounter,  known  well 


THE  SKETCH  PLAN  SHOWS  THE  GENERAL  ARRANGEMENT  OF  THINGS 

In  graphic  form  are  the  principal  rooms  indicated  by  letters.  L marks  the  loggia  at  each  end 
of  the  house;  DR  is  the  family  dining  room;  LR  the  living  room,  and  the  one  between  the  two,  indi- 
cated by  the  letters  MR,  is  the  parlor;  H the  entrance  hall;  K the  kitchen.  The  sketch  also  shows 
the  entrance  court  and  garden,  enclosed  with  bushes  bearing  flowers  or  berries  as  season  invites 

in  Revolutionary  history  as  the  Battle  of  Bennington,  followed  immediately 
by  the  Battle  of  Bunker  Hill.  During  the  night  of  the  fifteenth  of  August, 
1777,  General  Stark,  the  stalwart  hero  of  the  little  community,  was  joined 


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271 


HOME  OF  MR.  P.  B.  JENNINGS,  BENNINGTON,  YT. 


275 


by  a detachment  of  militia  from  the  Berkshires,  including  the  male  parish- 
ioners of  Pittsfield,  with  a parson  at  their  head.  That  reverend  gentleman 
said  that  while  his  congregation  had  often  been  called  to  war,  they  had  in- 
variably been  disappointed  in  a fight.  To  which  Stark  replied  that,  as  they 
could  scarcely  commence  business  in  the  dark,  they  must  be  patient  till  the 
good  Lord  would  allow  another  day  to  break,  when  everyone  should  have  all 
the  fighting  his  heart  could  well  desire.  Of  course,  we  are  not  concerned 
here  with  the  fact  that  the  sun  rose  at  the  usual  hour  the  following  morning 
upon  a little  knot  of  farmers  in  blue  frocks  and  shirt  sleeves,  or  with  the 
way  in  which  the  zealots  stole  quietly  around  towards  the  rear  of  the  hostile 
position;  but  this  little  bit  of  history  serves  to  render  us  still  more  apprecia- 
tive of  the  wholesome  character  of  the  picture  before  us. 

It  is  interesting  to  remember  that  Vermont,  the  Green  Mountain  State, 
was  the  first  to  declare  itself  against  slavery.  It  still  declares  itself  free 
from  slavery  of  any  form  of  building.  It  resents  shackles.  The  citizens, 
having  outgrown  the  severity  and  deprivations  of  their  frame  buildings,  and 
having  traveled  sufficiently  to  see  the  beauties  of  other  countries,  have  re- 
turned with  renewed  pleasure  to  their  former  type  of  building,  with  certain 
modifications  and  conveniences.  In  other  words,  they  have  proceeded  to 
modernize  an  old  idea.  Houses  of  this  character  show  that,  as  a nation,  we 
are  entering  a phase  more  favorable  to  our  better  and  calmer  notions  of  what 
a house  should  be.  We  are  more  reasonable,  more  restrained,  and  more 
easily  satisfied. 

Someone  has  facetiously  spoken  of  this  type  of  building  as  a glorified 
farmhouse,  a sort  of  farmhouse  de  luxe.  It  is  not  a satisfactory  classifica- 
tion, for  it  fails  to  give  credit  to  owner  or  architect  for  their  skilful  avoid- 
ance of  the  conventional.  Certainly  these  gentlemen  believe  in  the  whole- 
some influence  of  sunlight,  desiring  that  luminary  as  a permanent,  rather 
than  an  occasional  visitor  to  every  room.  Most  of  the  doors  are  treated  as 
casements,  opening  to  the  floor,  yet  the  privacy  of  the  bay  is  preserved.  The 
house  does  not  stand  upon  any  artificial  elevation,  but  upon  the  natural 
level  of  the  meadow.  Many  of  the  old  box  trees  remain  and  some  ven- 
erable wild  grapevines  and  a mulberry,  cherished  by  the  owner  and  by  the 
urchins  of  the  district. 


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276 


FROM  THE  LAKE  AT  A DISTANCE,  THIS  IS  VERY  MUCH  THE  VIEW  WE  GET 
Is  not  this  an  occasion  where  it  is  wise  to  leave  well  enough  alone,  without  further  planting? 


Home  of  Mr.  E.  D.  Adler,  Oconomowoc  Lake,  Wis. 

Brust  & Philipp,  architects 

THE  living-room  is  flooded  with  sunshine  in  the  cheerful  little  cottage 
recently  built  by  Mr.  E.  D.  Adler  on  the  broad  shore  of  Lake  Ocono- 
mowoc. It  is  so  deep  in  the  woods  as  to  be  practically  out  of  sight 
to  the  casual  visitor.  Yet  there  are  many  such  in  the  energetic  state  of  Wis- 
consin, and  serviceable  they  are  for  week-ends.  The  long,  gracefully  pillared 
colonnading  spells  character,  bringing  once  again  a whisper  from  the  days 
of  the  classics,  when  philosophies,  ambitions  and  temples  were  intimately 
associated.  It  exercises  a singular  charm  in  so  small  a place,  broadening  it, 
and  increasing  the  importance  of  its  position  immediately  above  the  lawn-like 
meadow  which  extends  to  the  water’s,  edge.  The  roof  of  the  corridor  becomes 
a series  of  balconies  for  the  bedrooms  overhead.  The  house  is  well  schemed, 
having  a square  central  hall  from  which  the  living  and  dining-rooms  open. 
It  has  also  a double  staircase  and  porches  that  extend  in  three  directions,  so 
that  they  may  woo  the  hreeze  from  every  side  as  well  as  the  sunshine.  Is  it 
not  because  of  the  perfume  as  well  as  the  movement  of  these  giant  trees  that 
people  build  so  frequently  in  the  wood? 


<1 


277 


278 


THE  ORIGINAL  PORTION  OF  THIS  HOUSE  WAS  BUILT  BY  ELIPHALET  BARNUM  IN  1789 

For  many  years  the  homestead  belonged  to  John  Mulford  Barnum,  a man  so  prominent  in  national  affairs  as  to  entertain  for  several 
days  no  less  a man  than  James  Madison,  the  father  of  the  Constitution,  upon  his  return  from  Southampton  after  visiting  Captain  George 
Fordham.  So  well  does  the  hooded  entrance  harmonize  with  the  old  house  that  we  scarcely  realize  it  as  of  recent  date 


AN  INTERESTING  INTERIOR  IS  THIS  OF  THE  DRAWING-ROOM 

Much  of  the  furniture  is  very  quaint  in  line,  all  mellow  in  tone  and  suggestive  of  the  unobtrusive 
character  of  early  times.  Is  not  this  type  of  interior  a timely  standard  of  good  taste? 


The  Home  of  Mr.  J.  M.  Townsend,  Jr.,  Mill  Neck,  L.  I. 

Hewitt  & Bottomley,  architects 

Illustrations  from  photographs  hy  Julian  Buckly 

THE  home  of  Mr.  .1 . M.  T ownsend,  Jr.,  is  not  very  far  from  the  inter- 
esting old  house  depicted  on  the  adjoining  page,  which  to-day  is  the 
property  of  Mrs.  James  M.  Townsend,  the  mother  of  Mr.  Town- 
send. The  house  was  built  quite  recently,  but  it  is  decidedly  old  in  spirit, 
following  conscientiously  the  underlying  severity  which  prompted  so  much 
of  the  best  work  of  Colonial  days.  It  is  refreshing  to  see  it  and  once  again 
acknowledge  with  gratitude  this  standard  of  excellence  and  to  note  the  stern 
compromise  effected  between  the  furniture  that  to-dav  follows  so  wilfully  the 
extravagance  of  our  time  and  that  which  characterized  so  vividly  the  lofty 
ideals  of  the  Colonials.  The  wall  panelling  of  the  withdrawing  room  above 
is  well  proportioned  and  interesting  in  detail,  as  is  the  framing  of  the  chairs 
and  side  table,  the  quaint  chintz  of  the  sofa  and  cushions. 


279 


THE  ATTRACTIVE  HOME  OF  MR.  G.  W.  BACON  AT  ST.  JAMES,  L.  I. 

This  little  homestead  with  its  swell-fronted  porch  has  the  tranquillity  and  restraint  of  a Quaker  dwelling 


The  Half-timber  and  the  Framed  House 

rHE  frame  house  takes  a prominent  part  in  the  comedy  of  our  daily 
life,  and  is  classed,  in  the  main,  by  the  character  of  its  trimming.  Yes, 
the  frame  house,  like  the  woman  of  fashion,  is  often  known  by  its  cos- 
tume. At  times,  it  is  individual:  again,  it  is  spectacular;  too  often,  alas, 
deadly  monotonous.  Of  late,  this  is  changed,  and  the  change  is  due  not  a 
little  to  the  fact  that  the  frame  house  is  handled  frankly  and  freely  as  a 
foundation  for  trimmings.  The  trimmings  are  studied!  And  studied  in 
relation  to  a definite  style.  So,  to-day,  we  have  the  Colonial  in  its  many 
phases — a Colonial  prompted  by  the  English,  the  Dutch  and  the  French  rep- 
resentations of  classic  form,  and  the  frame  houses  of  a more  recent  idea,  in 
which  the  material  has  been  permitted  to  play  a prominent  part.  We  have 
also  houses  introducing  many  features  of  the  Swiss  chalet,  and  some  embody- 
ing the  proportions  of  the  recent  cottages  for  the  French  and  Italian  peas- 
antry. Recently  the  influence  of  the  newly-born  impulse  to  devote  further 
study  to  the  claim  of  the  material  rather  than  to  center  the  attention  exclu- 
sively upon  the  ornament  has  led  to  a house  of  a more  wholesome  character. 


280 


THE  HALF-TIMBER  AND  THE  FRAMED  HOUSE 


281 


During  the  last  few  years  considerable  improvement  has  been  effected 
in  the  construction  of  the  frame  house,  and  while  it  is  now  rarely  built  of 
heavy  timbers,  mortised  and  tenoned  together,  it  is  improved  in  many  other 
ways.  True,  the  framing  is  lighter.  Still,  it  is  strengthened  by  diagonal 
ties,  and  often  rests  upon  a substantial  foundation  of  stone,  concrete  or 
brick.  The  frame  is  well  secured  to  a good  heavy  sill,  and  the  space  be- 
tween the  quarterings  is  filled  with  fire  and  weather  proof  material.  This 
means  that  the  frame  house  no  longer  tops  over  in  a way  that  is  picturesque 
to  the  observer  but  distracting  to  the  owner,  and  which  is  very  costly  to  re- 
erect or  shore-up,  as  the  builders  say. 

To  many  the  frame  house  means  a stucco  house.  The  stucco,  thanks 
to  wire  lath  of  some  description  or  other,  covers  the  frame.  Still  others  know 
it  for  the  shingling  or  weather  boarding  with  which  the  frame  is  concealed, 
and  they  have  admriable  authority  for  the  service  this  form  of  home  renders 
to  a family,  for  was  not  “Uncle  Tom’s  Cabin”  written  in  a house  of  this  de- 
scription? We  can  but  respect  a building  which  has  afforded  shelter  to  a 
bright  mind,  or  in  which  our  children  first  saw  the  light. 

Charity  Ferris,  who  upset  Lord  Howe’s  plans  and  helped  save  the  day 
for  the  Americans,  enjoyed  for  years  the  hospitality  of  a frame  house.  At 
W iscasset,  Maine,  a few  devotees  of  the  Royalist  cause  of  France  built  for 
Marie  Antoinette  a small  frame  house,  still  treasured  in  her  name,  though 
without  the  privilege  of  her  magnetic  personality.  An  eloquent  reply  as 
to  the  enduring  qual- 
ity of  wood  is  seen  in 
the  toys  of  the  Egyp- 
tian queens  in  our 
museums. 

The  half-timber 
studio  appearing  on 
page  238,  as  frontis- 
piece for  this  chap- 
ter, was  designed  by 
Bates  & flow,  archi- 
tects. We  are  in- 
debted to  Peabody, 

Wilson  & Brown  for 
view  on  page  280. 
and  to  C.  B.  Keen 
for  the  illustration  at 
the  foot  of  page  281. 


THE  SARATOGA  HOME  OF  MR.  CHAUNCEY  OLCOTT 

We  get  an  admirable  idea  of  the  garden  from  this  sketch,  show- 
ing dramatic  nature  of  the  setting  and  venerable  age  of  the  idea 


A GRACEFUL  LESSON  IN  ACADEMIC  PROPORTION  FINDING  FAVOR  WITH  MANY 
It  is  encouraging  to  see  this  beautiful  palace  in  the  glorious  sunshine  of  our  land.  (See  page  313) 


282 


CHAPTER  IV 

THE  STONE  HOUSE 


The  estate  of  Mr.  E.  W.  Bussell,  Greenwich,  Conn. — The  country  home  of  Mr. 
Franklin  Murphy,  Mendham,  N.  J. — The  home  of  Mr.  William  J.  McCahan,  Jr., 
Moorestown,  AT.  ./. — Bant  on  Old  Hall,  Norfolk,  England — The  property  of  Mr.  TT7. 
Warner  Harper,  Chestnut  Hill,  Pa. — The  greatly  admired  Washington  house,  so 
prominent  in  the  social  and  architectural  world,  belonging  to  Mrs.  Bobert  B.  Hitt. 

There  is  a peculiar  significance  about 
the  house  which  is  built  of  stone.  Like 
many  houses  of  brick  or  stucco,  it  is  a 
mirror  reflecting  the  ambitions  of  the  owner, 
the  architect,  the  times.  It  is  all  this  and  much 
more.  “Oh!  that  mine  enemy  would  write  a 
book!”  is  a bromide.  “Give  an  architect  a stone 
house  to  design  and  he  will  advance  in  the  es- 
teem of  his  township  or  he  busy  explaining  how 
he  happened  to  fail.”  says  a cynic,  and  cynics 
generally  know.  Though  the  physic  they  ad- 
minister be  neither  palatable  nor  timely,  it  has 
the  fatal  knack  of  accuracy. 

The  stone  house!  What  of  it?  Are  not  we 
of  this  favored  country  blest  with  stone  from 
the  deep  bosom  of  many  a rugged  state,  vary- 
ing greatly  in  its  color  and  texture,  and  yet 
of  so  soft  a grain  as  to  receive  readily  the  most 
delicate  detail,  and  with  it  all  retain  the  ability 
to  harden  upon  exposure  to  the  air?  As  it  is 
costly,  we  build  of  such  stone  less  frequently  than  formerly.  As  testimony 
to  our  wit,  it  confronts  us  for  many  years  and  is  before  the  world  as  witness 
to  our  skill  or  to  the  poverty  of  our  ideas.  Thanks  to  the  glorious  sunshine, 
this  valued  tenant  of  the  quarry  smiles  upon  the  least  provocation.  The 
smile  illuminates  the  outline  of  m’lord’s  conception  of  what  his  house  should 
be,  whether  it  be  prompted  by  a loggia  or  an  oriel,  fashioned  from  some 
palace  of  the  magic  Isle  of  the  Sea,  the  silhouette  of  a Highland  castle  or 
the  manor  in  a fertile  valley,  or  a little  idea  of  his  own.  (See  page  312.) 


283 


284 


THE  SPLENDID  OLD  ELM  SEEMS  TO  BE  CHARGED  WITH  AN  IMPORTANT  ARCHITECTURAL  COMMISSION 

It  is  indeed  a mighty  tower  dominating  the  group.  It  reminds  us  that  this  agreeable  accent  has  been  much  neglected  of  late,  which 
is  unfortunate,  for  it  could  well  be  made  much  of  on  some  occasions,  where  a serious  accent  would  he  acceptable.  This  is  not  a 
criticism  of  the  present  design,  which  is  admirable  in  every  way,  but  a reminder  occasioned  by  the  tree  it  were  well  to  remember 


THE  VERANDA  CAN  BE  ENTIRELY  ENCLOSED  WHEN  DESIRED 

It  is  appropriately  furnished.  The  pavement  is  of  brick  laid  herring-bone  pattern.  The 
charm  of  the  scene  is  the  welcome  feeling  of  shelter  from  high  winds  and  blazing  sun 


Estate  of  Mr,  E,  W.  Russell,  Greenwich,  Conn. 

Frank  E.  Newman,  architect 

Illu  strations  from  original  drawings  and  photographs 


THE  house  recently  built  by  Mr.  E.  W.  Russell  at  Greenwich,  Connec- 
ticut, from  the  design  of  Mr.  Frank  E.  Newman,  architect,  stands 
upon  a property  of  some  ninety  or  more  acres.  In  a thoughtful 
manner  the  house  has  been  located  upon  a knoll  by  the  side  of  a splendid 
old  elm  tree.  It  is  one  of  those  trees,  the  lower  branches  of  which  have 
been  cut  away  in  the  earlier  portion  of  its  life,  making  it  unusually  tall, 
even  majestic  in  appearance,  and  possibly  doing  a little  to  thicken  the  trunk, 
equipping  it  as  an  accent  to  the  hillside.  The  tree  becomes,  as  it  were,  a 
huge  exalted  tower,  charged  with  an  architectural  commission  of  consider- 
able importance.  It  practically  forms  part  of  the  group  of  gables,  being 
intermarried,  so  to  speak,  with  the  roof  line.  This  is  very  noticeable  when 
the  house  is  viewed  from  the  distance,  looking  towards  the  entrance.  The 
house  is  long  and  low,  vigorous  in  outline,  resembling  the  upland,  the  hilly 
district,  where  the  soil  is  rich  in  color,  the  foliage  deeply  tinted  and  the  hills 
in  the  distance  are  purple. 


285 


28(5 


ESTATE  OF  MR.  E.  W.  RUSSELL,  GREENWICH,  CONN. 


287 


Encouraging  is  it  to  find  that  in  the  delightful  search  for  a serviceable 
form  of  architecture,  the  architect  turned  to  the  lowlands,  which  lies  be- 
tween the  Thames  and  the  Severn,  and  which  is  known  far  and  wide  as  the 
Cotswold.  This  engaging  little  Connecticut  house  resembles  closely  many 
of  the  handsome  two-storied  Gothic  houses  to  he  found  to-day  in  Glouces- 
tershire and  in  the  County  of  Northampton.  Some  of  them  were  built  in 
the  sixteenth  and  seventeenth  centuries.  They  are  vigorous  little  buildings, 
strongly  individualistic,  the  logical  outcome  of  the  needs  of  the  shepherd 


SKETCH  OF  GROUND  PLAN  SHOWING  GENERAL  POSITION  OF  ROOMS 
This  is  taken  from  the  architect’s  sketch,  which  has  been  followed  and  enriched  in  many  ways 


farmers  of  the  district.  They  are  built  of  stone,  quarried  in  the  neighbor- 
hood. Their  well-cut  lintels  and  string  courses,  porches,  dormers  and  square 
mullioned  windows  are  well  known.  These  little  towns  are  Elizabethan  in 
their  seriousness,  resembling  not  a little  the  colleges  of  Oxford,  particularly 
New  College,  which  was  new  when  England  and  France  in  the  day  of 
Froissart  fought  Crecy  and  Agincourt.  These  delightful  little  buildings  gave 
an  individual  note  to  the  hamlets  and  market  towns,  such  as  Stowe-on- 
on-the-Wold,  Houghton-on-the-Hill,  Chipping  Hampton,  Weston-sub- 
Edge,  Bourton-on-the- Water,  the  very  nomenclature  of  which  is  suggestive 
of  the  locality  and  its  chamber.  The  houses  are  roofed  with  thick  slate  or 
thin  stone  slabs  resting  upon  verge  boards  and  rafters,  roughly  hewn  and 
stained  a dark  brown. 

Mr.  Russell’s  house  at  Greenwich  is  built  of  stone  of  the  locality,  for 
which  purpose  many  of  the  stone  fences  have  been  removed,  so  that  the 
walling  is  ever  varying  in  color  as  well  as  texture  and  outline.  For  years 
the  stone  has  been  exposed  to  the  weather  and  has  become  warm  in  tone. 


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288 


289 


290 


LIKE  THE  HOUSE-PLACE  OF  THE  COTSWOLDS,  THE  LIVING  ROOM  IS  SERIOUS  AND  LIBERAL  IN  SIZE 

It  is  a long  room  running  through  the  house  with  windows  on  the  east  and  west  elevations,  opening  upon  the  veranda.  It  recalls 
somewhat  the  stateliness  and  structure  of  the  Elizabethan  colleges  of  Oxford  with  their  fine  utilization  of  heavy  timbers  and  low 
ceiling  which  do  so  much  to  spell  cozyness.  In  such  environment  the  student  can  read.  Still,  where  can  he  not  read  if  he  so  desire? 
Inducements  for  encouragement  of  reading  are  numerous.  Publishers  vie  with  each  other  to  win  public  favor.  The  architects  enter  the  list 


ESTATE  OF  MR.  E.  W.  RUSSELL,  GREENWICH,  CONN. 


291 


thanks  to  the  encrustation,  the  moss  and  lichen,  the  metallic  nature  of  the 
traprock.  The  stone  is  diapered  with  bronze  and  blackened  with  a rust. 
Time  has  also  removed  the  sharp  edges  and  has  eliminated  the  soft  places. 
What  better  material  for  the  mason?  These  stone  hedges,  as  they  were 
called  in  England,  are  equally  plentiful  in  Connecticut.  By  permitting  the 
garage  to  share  the  same  roof  tree  the  length  of  the  ridge  has  been  ex- 
tended so  as  to  increase  the  importance  of  the  building,  keeping  it  long  and 
low  and  adding  greatly  to  the  comfort  of  everyone.  The  shingling  is  laid 
in  uneven  courses,  weather-stained  an  agreeable  tone. 


THE  ARCHITECT’S  ORIGINAL  SKETCH  FOR  FIRST  FLOOR  PLAN  OF  HOUSE 
Here  will  be  seen  economy  of  space  and  many  contrivances  for  convenience  of  the  family 


The  living-room  is  spacious,  sturdily  beamed,  rather  low  as  becomes 
the  character  of  the  building.  Thick  heavy  boards  take  the  place  of  the 
usual  plaster  ceiling  and  are  of  a mellow  brown  color  which  is  very  delight- 
ful. The  stairway  is  broad,  the  tread  easy,  the  detail  serious.  It  rises  in 
an  alcove  opening  from  the  living-room,  a memory  of  a medieval  method 
of  planning.  Heavy  stone  piers  give  line  to  the  veranda,  or  sun-parlor,  as 
it  might  be  called,  the  floor  of  which  is  of  dull  red  brick,  laid  herring-bone 
pattern.  It  is  ceiled  with  a scratch  coating  of  mortar  between  heavily  boxed 
beams.  The  easterly  entrance  is  a reproduction  of  an  old  doorway  in  Glou- 
cestershire, in  the  little  town  of  Iccomb. 

Although  the  wool  industry  in  the  Cotswohl  may  he  but  a memory, 
many  of  the  old  barns  empty  and  the  buildings  decrepit,  there  are  still  sta- 
plers who  to-day  make  their  living  by  shipping  wool  to  Flanders.  It  is  in- 
teresting to  realize  that  the  architect  has  been  so  fortunate  as  to  be  able  to 
present  in  this  country  so  graceful  an  adaptation  of  these  sturdy  little 
houses,  the  gables  of  which  were  so  often  covered  with  honeysuckle  or  pink 
roses  and  arrogant  darlings — popular  decorations  of  the  lapel — the  fuchsia. 


292 


Home  of  Mr.  Franklin  Murphy,  Mendham,  N.  J. 

H.  Van  Buren  Magonigle,  architect 
Olmsted  Brothers,  landscape  architects 

T is  no  easy  matter  to  be  an  architect  in  these  days  and  win 
out.  He  is  often  like  the  physician,  the  lawyer,  or  the  musi- 
cian. Given  an  opportunity,  what  will  he  do  with  it  ? Here, 
in  this  property  at  Mendham,  N.  J.,  is  a superb  grove  of 
trees.  It  is  the  highest  point  among  the  several  hundred 
acres  that  comprise  the  estate.  The  knoll  is  densely  wooded. 
Pine,  oak  and  chestnut  lift  their  proud  heads  high.  In  some  places  they 
are  so  close  together  as  to  compete  for  sunshine  and  acceptable  rootage. 
They  are  diversified  in  foliage  and  singularly  beautiful.  From  the  center  of 
this  grove  owner  and  architect  decided  to  remove  the  old  house  and  substi- 
tute a new  one,  but  it  was  to  be  done  adroitly  and  skilfully,  without  disturb- 
ing things.  The  old  site  with  its  numerous  advantages,  its  views,  its  dis- 
tances, its  glimpses  through  the  underbrush  must  be  fostered.  Perhaps  two 
or  three  trees  might  be  sacrificed  in  the  general  comfort  of  things,  but  the  rest 
must  be  preserved.  The  illustrations  show  the  result- — a picture. 

Not  only  is  this  interesting  property  worthy  of  regard  because  of  its 
grove,  it  is  also  notable  because  of  its  sunken  garden,  its  gradual  slope 
towards  the  south  which  provides  amply  for  farm  buildings,  its  roadway 
running  gently  downhill  and  its  stimulating  view  beyond.  It  is  well  con- 
trived. It  has  undoubtedly  been  planned  thoughtfully.  It  has  not  been  a 
matter  of  accident  but  of  able  adjustment,  of  skilful  contrivance  and  sym- 
pathetic arrangement.  The  property  is  sufficiently  large  to  admit  giving  in- 
dividual treatment  to  garden  as  well  as  house,  to  approach  as  well  as  farm 
buildings,  reserving  a large,  open  area  for  meadow-land.  This  great  sun- 
spot is,  in  its  own  way,  an  accent  and  gives  value  to  the  rich  detail  at  one  side 
of  the  property.  In  other  words,  the  house,  garden  and  barns  are  unified 
by  thoughtfully  contrived  roadways  and  fences.  The  planning  of  property 
like  this  is  as  much  what  we  avoid  doing  as  what  we  do.  Architect  and  owner 
have  shown  their  realization  of  some  of  the  difficulties  by  avoiding  many  of 
the  pitfalls  of  younger  and  less  experienced  men. 

Of  course  the  grove  dominates  everything.  It  is  the  setting,  the  oppor- 
tunity. It  plays  up  splendidly  to  the  house  which,  with  its  long,  serious 


293 


& 


294 


SOUTHERN  TERRACE— THE  DAYLIGHT  IS  TOO  VALUABLE  TO  BE  EXCLUDED  BY  VERANDA 


HOME  OF  MR.  FRANKLIN  MURPHY,  MENDHAM,  N.  J. 


295 


outline,  gracefully  occupies  the  place  of  honor.  It  is  not  belittled  or  befrilled 
with  fussy  outlining.  It  is  very  big  in  idea,  large  in  its  inches  and  looks  com- 
paratively unimportant.  That  is,  it  looks  quiet,  dignified,  serious,  sober, 
calm,  what  you  will,  among  the  trees.  The  trees  have  set  a pace.  Their 
exalted  limbs  are  unusually  stimulating  and  the  house  does  not  compete  with 
their  superb  outlines.  It  falls  in  quietly  and  in  good  order  so  that  it  spells 
homestead.  It  will  age  in  a very  short  while.  The  traprock  of  which  it  is 
built  was  brought  here  from  a short  distance.  It  is  a local  stone  full  of  color 
whose  texture  will  take  on  its  own  peculiar  tone,  a tone  governed  not  a little 
by  the  trees  and  as  much  a part  of  the  landscape  as  the  trees. 

The  roof  is  red,  good,  rich  Indian  red.  I saw  it  on  a windy  morning  in 
June  when  the  sun  shone  brightly  on  it.  The  big  trees  cut  a shadow  right 
across  it  and  the  foliage  played  a sort  of  infantile  network  upon  the  wall- 
ing, mellowing  things  together  delightfully.  Shadows  were  everywhere,  but 
they  were  translucent,  full  of  color  and  wonderfully  alive.  It  was  a satisfy- 
ing picture,  comforting,  inviting,  wistful.  In  time  the  iron  will  come  out  of 
the  rock  and  it  will  oxidize  in  many  ways.  Moss  and  lichens  will  grow  in  the 
joints,  making  a mosaic  of  their  own  within  the  outer  network  provided  by 
the  mason.  It  is  an  unassuming  house.  Hence  its  dignity.  It  depends 
upon  its  plan.  The  house  extends  east  and  west,  having  a big  open  terrace 
on  the  northern  and  southern  sides.  The  plan  is  the  quality  which  determines 
its  value  in  the  domestic  as  well  as  the  architectural  kingdom.  “Show  me 
the  plan,”  says  the  critic.  Any  youngster  can  put  up  a false  frontage  that 
looks  pretty,  hut  the  quality  of  the  house  in  the  kingdom  of  the  woman  is 
governed  by  the  arrangement  of  the  rooms,  which  here  is  admirable.  The 
gallery  is  long,  very  unusual.  It  is  well  named.  From  out  to  out  it  is  some- 
thing like  one  hundred  feet  in  length,  having  an  organ  at  one  end,  a grand 
staircase  at  the  other,  two  fire  openings  and  five  large  casements  by  which 
access  can  be  had  to  the  northern  terrace.  It  opens  up  well.  Hence  the 
living-room,  dining-room,  reception-room  and  the  rest  of  it  are  each  ap- 
proachable in  proper  sequence.  The  circulation  is  good.  Many  lessons  have 
been  learned  from  the  old  house,  things  not  to  do!  And  here  the  plan  pro- 
vides good,  common-sense  comforts  for  the  family  and  the  visitor  who  will 
live  out  of  doors.  Mr.  Murphy’s  room  is  a very  individual  place.  He  can 
sit  here  literally  among  the  trees.  There  is  no  veranda  or  loggia  or  pergola 
to  overshadow  the  terrace  or  cast  a complete  shade  over  things.  The  rooms 
are  so  large  and  open  that  trellis  protection  is  neither  necessary  nor  desir- 
able. The  grove  takes  care  of  that.  The  lordly  trees  with  their  natural  can- 
opy provide  sufficient  shelter  from  the  burning  sun.  Trellis,  however,  is  pro- 
vided over  the  gables  for  creepers  that  will  give  color  to  the  walling. 


296 


NOT  A TYROLESE  ARBOR  NOR  A TEA-HOUSE  OF  OLD  JAPAN,  BUT  A PLAIN  EVERYDAY  LAUNDRY 

Delightfully  has  the  architect  accepted  the  challenge  of  a domestic  problem,  making  of  it  a picture  serviceable  with  all  its  beauty. 
This  study  of  the  fence  is  important.  It  does  so  much  to  bind  the  place  together  and  support  the  broad  bordering  of  shrubbery 


HOME  OF  MR.  FRANKLIN  MURPHY,  MENDHAM,  N.  J. 


297 


It  is  a very  much  larger  house  than  it  at  first  appears,  because  so  much 
is  taken  up  by  the  trees  and  their  shadows.  As  a matter  of  fact,  it  has  a 
frontage  of  nearly  one  hundred  and  sixty  feet  and  a depth  of  nearly  ninety 
feet  including  the  wings.  The  central  portion,  comprising  the  long  gal- 
lery, dining  and  living  rooms,  needs  the  daylight,  so  that  the  more  usual 
veranda  is  omitted.  We  are  tempted  to  ask,  when  is  it  necessary  in  a de- 
sign of  this  character?  The  pleasing  but  too  often  neglected  element  of  re- 
pose is  here  very  evident.  Not  only  do  the  northern  and  southern  elevations 
agree  in  detail  and  balance,  but  there  is  a delightful  uniformity  of  drawing 
elsewhere.  The  same  thoughtful  observance  is  to  be  seen  within — closets 
abound.  The  westerly  front  is  accented  agreeably  by  the  large  entrance 
porch. 

It  is  astonishing  what  admirable  building  material  the  stone  quarried  in 
the  district  becomes  in  the  hands  of  a skilful  designer.  By  the  way,  what 
woidd  become  of  us  were  we  to  lose  the  Italian  mason,  a very  serviceable 
citizen?  His  love  of  stone  has  endeared  to  the  hearts  of  most  of  us  many 
places  of  this  kind.  To  the  sons  of  sunny  Italy  the  stone  is  a playmate;  he 
fondles  it  amusingly  and  seeming  to  be  able  to  do  anything  with  it  in  the 
building  world. 

It  is  a property  of  several  hundred  acres  with  its  farm  buildings,  serv- 
ice court  and  entrance,  its  gardener’s  cottage,  piggeries,  poultry  houses, 
laundry  and  the  rest  of  it,  all  placed  sympathetically  out  of  sight  but  within 
reach.  In  proper,  logical  sequence  the  buildings  are  connected  by  a well- 
thought-out  road  plan  which  is  in  itself  creditable.  A great  deal  of  the  prop- 
erty is  let  severely  alone.  The  meadow-land  with  its  beautiful  sunshine  area 
is  without  any  artificial  adornment,  unassuming,  natural.  And  that  has  been 
largely  the  text  of  the  place  as  it  is  the  ideal  of  our  best,  wide-awake  archi- 
tects doing  excellent  things,  working  with  old  sites,  old  settings,  old  farms, 
content  to  realize  to  the  full  that  great  as  architecture  is,  he  is  the  best  man 
who  serves  the  family  and  who  relegates  the  grand  dame  a little,  just  a 
little,  to  one  side,  remembering  that  service,  especially  service  to  the  living, 
before  everything  else  in  the  world  is  the  text  for  him  who  is  worthy  of  the 
world. 


MANY  OF  THE  FARMHOUSES  IN  NORMANDY  HAVE  MUCH  OF  THIS  GENIAL  AIR 
Or  with  its  domestic  wing  it  might  be  classed  as  a traditional  minor  manor  of  the  English  Midlands 


Home  of  Mr.  W.  J.  McCahan,  Jr.,  Moorestown,  N.  J. 

J.  Fletcher  Street,  architect 

Illustrations  from  original  drawing  and  photograph 

IT  is  in  a thickly  wooded  section  around  Moorestown,  New  Jersey,  that 
this  unusual  house  has  been  built.  It  is  something  of  an  oasis  in  the 
great  desert  of  formality.  It  has  considerable  architectural  import- 
ance, and  might  well  he  spoken  of  as  designed  in  a lighter  vein  but  not 
recklessly.  Still  there  is  something  audacious  about  it;  as  we  look  at  it  we 
would  be  willing  to  swear  that  academic  lines  fail  to  exist,  that  there  was  no 
Academy!  From  every  view  comes  a fresh  picture.  I defy  you  to  see  it 
all  at  once!  It  is  as  human  as  a house  fronting  on  the  canals  of  Holland, 
the  great  valleys  of  the  Tyrol,  the  chateau  land  of  France,  the  quaint  little 
cottages  of  rustic  England,  or  maybe,  and  in  certain  lights,  a portion  of 
it  resembles  the  colleges  on  the  banks  of  the  sleepy  Cam  and  Isis.  Barrie, 
the  elusive,  as  he  has  been  called,  lived  for  a summer  season  in  just  such 
a house,  overlooking  the  Pass  at  Killiecrankie.  Here  is  a transformation 
from  the  more  usual  house,  that  is  all  frontage  with  a commonplace  side 


298 


HOME  OF  MR.  W.  J.  McCAHAN,  Jr.,  MOORESTOWN,  N.  J. 


299 


and  an  unspeakable  rear.  Strong  is  it  and  subtle,  ingratiating  and  skilful 
as  to  its  adjustment  of  rooms,  outlook  and  general  arrangement.  This 
house  accepts  the  natural  slope  of  the  ground  with  its  richly  wooded  back- 
ground just  as  it  is  and  with 
but  little  supplementary 
planting  of  any  account. 

Indeed,  its  outline  is  so  di- 
versified, so  picturesque  as 
to  he  its  own  frame,  its  own 
setting. 

It  is  very  refreshing  to 
find  in  these  days  this  de- 
scription of  building  resem- 
bling somewhat  the  tradi- 
tional minor  manors  of  the 
hospitable  Midlands  or  the 
farmhouses  of  Normandy, 
which  have  much  this  genial 
air,  for  so  few  architects 
sin  by  originality  that  a 
timely  hint  of  this  nature  is 
acceptable.  We  can  be  eclec- 
tic in  our  methods  without 
being  philosophers,  and  our 
eclecticism  does  not  limit  us 
to  the  geography  of  our  lay- 
out or  material  of  our  ex- 
pression any  more  than  it 
does  in  the  detail  of  our 
daily  lives. 

Once  again  is  this  a house 
in  which  local  color  abounds 
literally.  A stony  neighbor- 
hood has  many  compensa- 
tions. Surely  no  material  is 
so  convenient  and  altogether 
satisfactory.  N ature  has 

been  very  generous  with  her  rocky  particles,  her  silicas  and  oxides  in  this 
section  of  a friendly  state.  This  is  a happy  and  healthy-looking  house. 


PLAN  SHOWING  HOUSE  AND  TERRACES 

A pergola  of  unusual  interest  closes  the  southern  end 
of  terrace.  Entrance  is  marked  by  letter  A,  B is  living 
room,  C den,  I)  hall,  E dining  room  and  H kitchen.  An 
unusual  feature  is  the  elliptical  pool  and  steps  to  meadow 


FRONT  ENTRANCE  AND  COURTYARD  WITH  ARCHWAY  LEADING  TO  GARDEN 

The  courtyard  at  the  entrance  is  particularly  skilful  in  its  contrivance.  Here  will  be  noted  flagging 
of  York  stone  with  small  kidney-shaped  cobbles,  said  by  the  local  gossip  to  be  petrified,  bordered  in 
places  with  brick  upon  edge.  The  flagging  is  occasionally  depressed  or  countersunk  in  places,  forming 
a panel  which  seems  to  balance  the  trunk  of  a tree,  acknowledging  the  accent  in  its  own  peculiarly 
attractive  manner.  And  when  it  is  added  that  the  color  scheme  of  the  planting  has  been  arranged 
by  Miss  Jekvll,  we  can  well  understand  that,  while  it  may  have  but  few  of  the  roses  growing  like 
little  trees  with  stems  an  inch  or  more  in  diameter,  or  tulips  said  to  be  black  in  their  intensity, 
or  other  priceless  bulbs  of  romantic  history,  it  is  well  contrived,  for  it  has  scarlet  poppies  and  ox-eyed 
daisies,  gorgeous  yellow  flags  and  white  and  yellow  water  lilies  and  pinks  and  buttercups  and  bachelor 
buttons  which  spangle  the  scene,  and  which  in  turn  lift  their  beautiful  heads  over  the  flagging  which 
borders  their  kingdom.  These  rich  colors  are  brought  into  prominence  and  yet  mellowed  by  the  grays 
of  the  flint.  Still  the  pavements  are  cruel,  resembling  those  of  Holland.  Arnold  Bennett  writes  of 
Amsterdam  that  it  is  a paradise  for  stomachs  but  a hell  for  feet.  At  any  rate,  the  Hollander 
works  for  a sort  of  moral  comeliness  of  being  neat  and  clean,  which  in  the  main  is  responsible  for 
much  of  the  human  side  of  their  architecture,  even  if  it  be  denied  the  characterization  of  charm 


800 


/ 


THE  GARDEN  ELEVATION  SHOWS  THE  STORY  IN  A STRAIGHTFORWARD  MANNER 

By  a naive  interchange  of  squares,  a checkerboard  effect  is  produced  in  one  portion  of  the  walling 
where  the  flint  is  seen  in  alternation  with  the  brick.  The  pantiling  of  the  house  is  of  clay  rare  in  color 


Runton  Old  Hall,  Norfolk,  England 

M.  H.  Baillie  Scott,  architect  of  additions 

Illustrations  from  photographs  by  Thomas  Lewis 

RUNTON  OLD  HALL,  Norfolk,  England,  as  it  is  to-day  is  very  well 
illustrated  in  the  views  before  us.  It  is  simply  astonishing  to  realize 
what  can  he  done  with  the  homely  cobblestone  and  well-burnt  brick. 
The  views  show  the  old  and  the  new,  the  addition  and  the  original  portion,  in 
one  picture.  The  architect  transmogrified  the  old  place,  rebuilding  here 
and  there,  restoring  it  in  part  and  in  part  adding  features  of  his  own  which 
followed  once  again  the  spirit  of  the  original  designers.  It  is  a house  built 
doubtless  many  years  ago  by  the  industrious  Hollanders,  and  built  of  the 
cobblestones  taken  from  the  deep  chalk  strata  through  which  the  English 
Channel  has  formed  so  tempestuous  a sea  and  which  is  known  as  Hint. 

The  old  hall  here  shown  exhibits  frankly  the  influence  of  the  worthies  who 
built  with  flint,  using  brick  for  dressings.  We  see  the  gray  of  the  walling, 
cool,  purple  in  places,  and  in  places  almost  pearly  white. 

The  Hollanders  invited  the  world  to  pay  more  attention  to  the  glorifi- 
cation of  the  home.  They  were  believers  in  the  gospel  of  doing  things  well. 


301 


THE  ARCHITECT  HAS  RECALLED  SOMETHING  OF  THE  DETAIL  OF  MOUNT  VERNON 

The  masonry  is  excellent.  Look  at  semicircular  heads  to  windows.  The  loggia  is  sheltered  by 
big  trees  and  graceful  evergreens.  It  is  still  further  ennobled  by  association  with  events  potential 


Mr.  W.  Warner  Harper’s  Home,  Chestnut  Hill,  Pa. 

McGoodwin  & Hawley,  architects 
Olmsted  Brothers,  landscape  architects 

Illustrations  from  original  drawing  and  photograph 


WE,  cannot  wonder  at  the  suggestion  of  Washington  that  this  beauti- 
ful locality  become  the  site  of  the  Capitol,  and  it  is  interesting  to  re- 
call that  this  preference  received  at  the  hands  of  the  Senate  an  over- 
whelming vote,  though  the  selection  was  overnled  finally  by  influence  in 
other  directions. 

At  the  first  glance  we  recognize  in  the  vigorous  loggia  a close  resemblance 
to  Mount  Vernon,  and  yet  those  who  study  architecture  for  the  love  of  the 
thing  find  themselves  without  much  effort  in  the  days  of  the  Byzantines,  when 
this  type  and  proportion  of  bouse  was  common.  To  understand  the  place  it 
were  wise  to  turn  to  the  accompanying  plan,  wherein  is  disclosed  the  detail 
of  the  design,  the  intimate  relation  the  house  has  to  the  view  of  the  valley, 


302 


MR.  W.  WARNER  HARPER’S  HOME,  CHESTNUT  HILL,  PA. 


303 


the  entrance  roadway,  and  the  manner  in  which  the  scheme  connects  with  that 
prominent  and  ever-to-be-treasured  park  across  the  road,  which  is  admired 
far  and  wide  for  its  beauty.  To  be  within  a few  feet  of  Fairmount  Park  is 
indeed  a privilege  reserved  for  the  favored  few.  The  house  has  been  so  con- 
trived as  to  make  possible  a full  enjoyment  of  a remarkable  view  across  the 


PLAN  OF  PORTION  OF  PROPERTY  WITH  HOUSE  AND  GARDEN 

The  drawing  shows  the  entrance  from  main  road  and  subsidiary  paths.  It  also  indicates  the 
position  of  the  most  favored  views  and  the  manner  in  which  they  are  so  framed  by  means  of 
well-selected  trees  as  to  add  to  the  scene  an  agreeable  picture  extending  a considerable  distance 


valley  at  a distance,  with  an  engaging  picture  of  a lovely  park  as  the 
objective  point.  It  can  be  enjoyed  by  the  rooms  as  indicated  on  the  sketch. 
A is  the  dining-room  and  B the  central  hall;  C is  an  important  room  in  the 
comedy  of  daily  life;  1).  the  den  at  the  side.  E and  F mark  the  loggias,  the 
former  making  a breakfast  room  gladdened  by  the  morning  sunlight. 

Andorra,  the  name  prompted  by  the  little  republic  of  the  Pyrenees,  is 
noted  for  its  beautiful  trees,  shrubs  and  plants.  The  walled  garden  is  from 
the  designs  by  Duhring  & Howe,  landscape  architects. 


IS  NOT  THIS  HOUSE  ON  NEW  HAMPSHIRE  AVENUE  GOOD  TO  LOOK  UPON? 

A character  study,  revealing  infinite  care  bestowed  on  projections,  fine  as  profile  of  a rare  cameo 


304 


THE  GRAND  STAIRWAY  OPENS  UPON  A NEW  ORDER  OF  THINGS 

With  the  exception  of  the  library,  upon  the  lower  floor,  the  principal  rooms  open  upon 
this  hallway,  making  it  the  soul  of  the  house.  Here  also  is  a private  suite  for  guests 


The  Washington  Home  of  Mrs.  Robert  R.  Hitt 

John  Russell  Pope,  architect 

Illustrations  from  original  drawing  and  photographs  by  Wurts  Bros. 

THE  home  of  Mrs.  Robert  R.  Hitt  stands  upon  New  Hampshire  Ave- 
nue, facing  Roodway  Park,  and  also  having  a liberal  frontage  upon 
Dupont  Circle.  As  in  the  house  of  Mr.  Henry  White,  the  architect 
seems  to  have  invested  the  work  with  a romantic  setting.  A Western  archi- 
tect engaged  in  active  practice  and  familiar  with  the  best  of  this  world's 
architectural  themes  recently  said,  in  addressing  a society  of  cultivated  peo- 
ple, that  whenever  in  your  wanderings  through  the  fashionable  section  of 
Washington  you  pass  this  house  you  find  some  conscientious  admirer  upon 
his  knees,  figuratively  speaking,  so  great  is  the  reverence  for  this  recent  con- 
tribution to  the  great  realm  of  domestic  architecture.  After  this  eulogy  by 


305 


306 


THE  PALACES  OF  THE  PROUD  BOURBONS  HAVE  NO  MORE  CHASTE  OR  PLEASING  COUNTENANCE 


THE  WASHINGTON  HOME  OF  MRS.  ROBERT  R.  HITT 


307 


John  Galen  Howard,  it  is  a little  difficult  to  know  just  what  to  say  lest  in 
our  effort  to  do  justice  we  overdo  the  occasion. 

At  first  sight,  it  will  be  classed  by  some  as  a modern  illustration  of  the 
Adam  period  with  certain  modifications.  But  this  in  no  way  does  justice 
to  the  building,  for  it  is  much  more  robust  in  character  than  anything  at- 
tempted by  Mr.  Robert  Adam,  the  energetic  Scotchman  who  spent  so  much 
time  in  France  and  Italy  and  whose  career  was  so  successful  during  the  mid- 
dle portion  of  the  eighteenth  century,  that  age  of  princely  patronage  for 
England’s  architects.  It  is  conspicuous  in  that  impressive  section  of  Wash- 
ington which  is  famous  for  its  fine  residences.  The  accent  is  upon  the  upper 
floor,  and  here  the  architect  has  again  assumed  the  proud  position  of  leader 
by  giving  us  a well-planned  house  which  compares  favorably  with  anything 
undertaken  by  Paine,  Taylor,  Gwilt,  Carr,  or  Sir  William  Chambers.  The 
lower  portion  of  the  house  is  reserved  for  the  entrance  and  the  big  library 
and  the  grand  stairway  by  means  of  which  the  upper  section  or  the  soul  of 
the  house  is  reached  without  any  apparent  effort.  Again  this  method  makes 
admirable  provision  for  the  domestic  offices,  the  utilitarian  portion  which 
adds  so  greatly  to  the  comfort  of  everyone.  Surely  no  palace  of  the  proud 
Bourbons  has  a more  chaste  or  pleasing  countenance,  and  that  is  saying  a 
great  deal  when  we  realize  the  infinite  care  with  which  the  French  under- 
take matters  esthetic.  Naturally,  Washington  is  proud  of  this  as  of  other 
buildings  of  much  the  same  character.  The  house  recently  built  for  Mr. 
Robert  S.  McCormick  has  practically  the  same  arrangement  of  rooms 
wherein  the  accent  is  given  to  the  second  floor.  Of  course,  in  the  case  of  the 
house  for  Mr.  Henry  White  this  planning  was  not  convenient. 

Washington  gives  homage  to  personal  achievement  in  every  field,  en- 
joying the  profundities  of  the  philosophers,  the  effusions  of  the  poets,  and 
the  tireless  energies  of  the  resourceful  politician  who  endeavors  to  maintain 
an  equilibrium  among  the  pitiless  kaleidoscopic  transformations  of  an  adven- 
turous career,  Washington  delights  itself  alike  with  the  foibles  of  fashion  and 
the  much  deeper  significance  of  the  arts,  without  entirely  surrendering  to  any 
of  these  things.  Hence  it  is  delightful  and  encouraging  to  find  here  some- 
thing so  eminently  worthy  of  regard,  something  which  has  grown  up  in  the 
Metropolis  of  the  New  World,  setting  a new  standard  for  excellence  in 
affairs  architectural  at  a time  when  standards  are  revered. 

Some  time  ago  it  was  thought  wise  to  create  the  exalted  position  of 
Minister  of  Art.  It  is  encouraging  to  think  that  while  this  matter  is  in  abey- 
ance, forgotten  somewhat  in  the  great  struggle  under  way,  there  are  men 
among  us  who,  without  acclaim,  are  qualifying  for  the  position.  And  such 
men  are  building  not  only  private  residences  which  do  much  toward  the  man- 


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THE  WASHINGTON  HOME  OF  MRS.  ROBERT  R.  HITT 


309 


ufacture  of  character,  but  are  also  giving  us  a needed  illustration  of  a proper 
interpretation  and  retranslation  of  classic  ideals  and  proportions  adapted  to 
the  ever-varying  requirements  of  our  own  time  and  country. 

The  accompanying  sketch  plan  gives  an  excellent  idea  of  the  general 
arrangement  of  things.  The  property  is  situated  upon  Dupont  Circle  front  - 


SKETCH  PLAN  INDICATING  THE  GENERAL  LAYOUT  OF  THE  SCHEME 

The  house  has  a frontage  upon  Dupont  Circle,  with  its  picturesque  park,  and  New  Hampshire 
Avenue.  This  plan  of  the  ground  floor  shows  the  little  octagonal  vestibule  with  accompanying  cloak 
rooms  on  either  side  the  grand  staircase,  the  dignified  approach  to  main  rooms  upon  upper  floor, 
and  great  library  from  the  casements  of  which  an  entertaining  view  of  the  city  can  be  enjoyed 

ing  the  park.  The  front  entrance  is  upon  New  Hampshire  Avenue.  The 
design  provides  for  a double  driveway,  elliptical  in  outline,  with  an  inde- 
pendent footpath  in  the  center.  It  also  includes  a service  entrance  at  the 
side  running  into  a rear  court.  The  sketch  shows  the  elm-fringed  ave- 
nue, the  evergreen  garden  with  box  hushes  and  privet  hedging,  its  richly 
carved  monumental  vases  and  stately  cedars.  A is  the  octagonal  vestibule  at 
entrance  with  accompanying  cloak  rooms,  I),  G and  E,  on  each  side. 


310 


THE  DINING-ROOM  WILL  BE  REMEMBERED  FOR  THE  EXCELLENCY  OF  ITS  WALNUT  ENRICHMENT 
It  will  also  be  recalled  for  its  hospitality.  Here  linger  in  the  minds  of  many  the  frequent  scenes  of  good  fellowship  and  of  good  cheer 


THE  WASHINGTON  HOME  OF  MRS.  ROBERT  R.  HITT 


311 


serviceable  at  receptions.  It  is  from  the  main  stair  hall,  B,  that  the  grand 
staircase  rises  to  the  main  rooms  above.  The  hall  lias  a semicircular  ending 
resembling  somewhat  the  apse  of  a Byzantine  basilica.  C is  the  elevator,  L, 
the  library,  F the  butler’s  office,  Iv  the  kitchen,  that  great  center  of  things 
culinary  and  mysterious,  the  kingdom  of  the  chef;  J the  servants’  hall,  H the 
scullery,  P the  laundry  and  INI  the  man-servant’s  room. 

Arriving  at  the  head  of  the  stairs,  we  find  the  reception  room  imme- 
diately straight  ahead  over  the  vestibule  below.  The  family  living  room  on 
the  left  is  over  the  library,  the  dining  room  upon  the  right.  Upon  the  same 
floor  is  a guest  chamber  with  dressing  room  and  other  accommodations 
beyond.  This  method  of  centering  the  family  upon  the  upper  floor  finds 
favor  in  the  central  portion  of  Europe.  There  seems  to  be  a sense  of  pri- 
vacy about  it  that  appeals  to  cultivated  people  preferring  the  seclusion  and 
protection  which  is  only  obtained  in  this  way.  From  the  windows  we  get  an 
excellent  view  of  the  elm-fringed  avenue  of  the  city  with  its  tireless  pageant 
secure  from  the  busy  throng.  There  are  many  other  advantages  which  com- 
mend it  as  an  agreeable  setting  of  the  comedy  of  daily  life. 

But  it  is  not  the  seriousness  of  the  architectural  composition,  the  archae- 
ological accuracy  or  the  fact  that  the  color  is  good  and  the  comradeship  be- 
tween house  and  furniture  excellent;  neither  is  it  that  the  house  has  an  indi- 
viduality of  its  own  with  little  surprises  here  and  there,  Adam  mirrors  and 
antiques  and  tapestries  which  are  almost  beyond  price,  but  the  fact  that 
everyone  of  these  inanimate  treasures  speaks  eloquently  of  the  problems  of 
the  world  of  yesterday.  Doubtless  the  world  is  still,  to-day,  concerned  with 
problems,  with  perplexities  and  ambitions,  with  triumphs  and  fickleness,  with 
childish  simplicity  and  individual  preference,  for  we  are  intensely  human  and 
full  of  error.  These  inanimate  treasures  exercise  a vitalizing  and  quickening 
influence  over  a sensitive  mind.  Mediaevalism  is  a thing  of  the  past.  So  is 
palladianism.  The  thing  worth  having  to-day,  the  thing  beyond  price  is  the 
quality  of  repression,  of  service,  which  may  be  characterized  in  one  word- 
cosmopolitanism — the  ism  which  prompts  our  practical  belief  in  the  whole- 
someness of  the  human  philosophy  known  as  the  great  brotherhood  of  man. 

Mr.  Robert  Hitt  was  the  first  secretary  of  the  American  Legation  of 
Paris,  Assistant  Secretary  of  State  for  Illinois,  and  afterwards  United 
States  Representative  for  that  energetic  commonwealth.  He  urged  the  im- 
provement in  the  consular  and  diplomatic  service  and  advocated  reciprocity 
with  the  American  republics  and  Canada. 


CASTLEGOULD,  THE  ESTATE  OF  MR.  HOWARD  GOUED,  PORT  WASHINGTON,  L.  I. 
Like  the  keep  of  a Tudor  castle  is  this  stately  building.  Its  interesting  detail  reveals  the  period 


The  Stone  House 

The  stone  house  resembles  human  society,  with  its  ever-varying  qualifi- 
cations, perplexities  and  opportunities.  It  is  sufficiently  alert  to  accept 
and  record  individual  preference  of  the  most  potent  and  delicate  de- 
scription, transmitting  it  to  the  average  or  the  sensitive  person  as  he  has  the 
ability  to  absorb.  The  mandarins  of  architecture  may  order  to  instant  ex- 
ecution the  fool  person  who  questions  the  authenticity  of  their  rights  as 
interpreters  of  style,  style,  the  tireless  master  to  whose  caprice  society  is 
forever  a slave,  with  a sensitive  material  like  stone.  Examine  if  you  will 
the  work,  say,  of  the  Tudors  or  of  that  phase  of  the  Renaissance  of  Italy 
or  E ranee — ever  associated  with  the  high-water  mark  of  human  conception  as 
far  as  buildings  go — of  the  simple  village  churches  or  houses  of  the  average 
person  or  the  man  of  quiet  demeanor  to  learn  the  essential  difference  in  the 
nature  of  the  stone  required  to  produce  a given  effect.  You  will  be  inune- 


312 


THE  STONE  HOUSE 


313 


diately  struck  with  the  fact  that  the  plain  run  of  the  quarry  is  burdened  with 
the  responsibility  of  the  main  walling,  while  the  place  of  honor,  the  columned 
or  pedimented  portico,  the  cornice  or  string  course,  sill,  window  or  door  head, 
receiving  the  impress  of  the  human  hand,  doing  much  to  place  the  building  in 
its  relation  to  other  forms  of  intimate  expression,  characterizing  it  in  the 
great  kingdom  of  man,  is  held  by  stone  of  a finer  grade,  of  a whiter  and 
closer  texture. 

The  rock  face  of  the  ruder  tenant  of  the  quarry  is  often  punctured 
with  a thousand  markings  of  different  degrees  of  hardness,  a conglomerate 
mass  is  it  of  quartz  and  spotted  with  iron,  mica  and  other  metals  which  glisten 
in  the  light,  which  corrode  and  blacken,  oxidizing  in  most  engaging  colors, 
and  this  it  is  which  gives  to  the  so-called  trimmings  of  the  house  so  excellent 
a contrast,  so  delightful  a change,  which  by  their  very  ruggedness  invites. 
We  are  told  that  carving  gives  this  zest  to  a frontage,  quickening  the  com- 
position amazingly;  that  carving  without  snap  is  one  of  the  most  banal  occu- 
pations, while  that  which  bears  upon  its  surface  the  unmistakable  testimony 
to  conscientious  study  and  is  entrusted  with  an  appropriate  message  is  a 
good  thing.  Ornament  is  the  wine  of  architecture;  still,  we  need  to  keep 
sober,  valuing  our  plain  surfaces  in  which  lingers  at  least  a moiety  to  com- 
mon sense. 

While  we  have  acquired  so  much  knowledge  by  our  study  of  the  craft- 
work  of  Italy,  where  marble  is  plentiful,  and  have  absorbed,  perhaps  uncon- 
sciously, the  value  of  line,  projection  and  the  potency  of  the  under-cut,  we 
have  also  acquired  much  practical  knowledge  from  the  rugged  masonry  of 
o u r forefathers,  w h o 
toiled  with  traprock,  pud- 
ding stone,  nigger  heads, 
to  quote  the  nomenclature 
of  the  mason. 

We  are  indebted  to 
Carrere  & Hastings  for 
the  privilege  of  printing 
as  frontispiece  the  house 
of  Mr.  A.  I.  du  Pont;  to 
Hunt  & Hunt  for  the 
view  on  page  312;  to 
Frank  E.  Newman  for 
the  sketch  of  a gable  of 
an  interesting  house  on 
page  313. 


AN  UNUSUAL  GROUP  OF  STONE  GABLES 

A bay,  a dormer,  a window  opening,  even,  a buttressed  pier, 
where  the  masonry  is  good  is  always  a picture  which  improves 
and  enriches  wherever  it  be.  ( For  story  of  house  see  paqe  285) 


! 

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1 ! 5, 


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r ^ *-' ' ^ 

V i 


^Smkr^L 

^ ^ ■■ 


A STATELY  PERGOLA  ADDING  A PLEASING  SHELTER  TO  A LONG  WALL 
Is  not  this  graceful  arbor  very  inviting  for  the  gods  of  good  time,  music  and  dancing?  (See  page  327) 


316 


CHAPTER  I 


THE  PROBLEM  OF  TILE  SETTING  OF  THE  HOUSE 

The  estate  of  Mr.  George  R.  White  at  Manchester-by-the-Sea,  Mass. — The  in- 
teresting property  of  Mr.  George  Eastman  at  Rochester,  X.  Y. — The  Berkshire 
estates  of  Mr.  William  Hall  Walker  and  of  Mr.  Warren  Salisbury — The  romantic 
Brookline  garden  of  Mrs.  John  S.  Gardner — The  home  of  Mr.  James  Rhodes  at 
Ardmore,  Pa. — The  picturesque  formal  garden  of  Mr.  Joseph  Choate  at  Stockbridge, 
Mass. — A scene  on  the  estate  of  Mr.  Chester  Thorne  at  Tacoma,  Wash. — The  New- 
port garden  of  Mr.  Storrs  Wells — The  much-aclmired  Tudor  Hall  on  the  estate  of 
Mr.  Stuart  Duncan  at  Newport — A group  of  suggestive  treatments  of  the  setting 
of  the  house  adaptable  to  small  as  well  as  large  properties. 

PROBABLY  the  one  word  “setting”  has  done 
more  to  revolutionize  the  architectural  outlook 
than  any  other.  It  has,  by  its  potency,  recently 
forced  its  way  into  prominence  and  practical  recog- 
nition. Lately  the  relation  between  the  house,  site 
and  outlook  generally  has  been  more  or  less  haphaz- 
ard. It  was  thought  to  be  good  and  sufficient  if  the 
architect  designed  a good-looking  house  with  possibly 
a little  mental  memorandum  that  some  day  or  other 
a garden  might  be  planted  here  or  there,  that  this  or 
that  tree  might  possibly  be  removed  and  a little  plant- 
ing done  elsewhere,  all  in  good  time.  It  was  scarcely 
thought  desirable  to  concern  oneself  with  problems  of  that  kind.  House 
scheming  was  trouble  enough!  The  rest  would  follow  in  due  course  when  the 
place  and  neighborhood  were  understood  a little  and  “we  can  see  what  the 
house  needs  and  what  things  go  best  together.”  But  to-day  all  that  is 
changed.  An  up-to-date,  live  and  vigorous  personality,  who  happens  to  be 
an  architect,  says  to  his  client:  “We  divide  your  money  into  two  parts.  We 
call  one  part  the  pudding,  the  other  the  sauce.  The  pudding  is  the  house, 
whatever  style  you  desire;  the  sauce  is  that  which  goes  to  make  it  palatable, 
the  little  piquancy,  the  perfume,  the  immeasurable  romance  and  the  big  sweep 
of  the  thing,  that  is  known  as  the  setting.”  We  must  study  the  one  at  the 
same  time  we  are  thinking  of  the  other.  Note  at  the  same  time.  The  set- 
ting is  not  a thing  apart!  In  reality  the  scheming  of  the  home  begins  with 
the  setting. 


317 


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318 


The  Home  of  Mr.  George  R.  White, 
Manchester-by-the-sea,  Mass. 

Bigelow  & Wadsworth,  architects;  R.  H.  Wambolt,  associate 
Olmsted  Brothers,  landscape  architects 

III  ustrations  from  photographs  by  Thomas  Ellison 


HE  silhouette  outline  of  Lilliothea,  with  its  splendid  towers, 
is  the  first  thing  we  see  as  we  look  from  Manchester  out  in 
the  direction  of  Smith’s  Point.  It  is  the  circular  tower 
which  is  the  most  prominent.  This  energetic  accent  is  verily 
the  Hallelujah  Chorus  of  domestic  architecture.  The  pic- 
turesque property,  which  is  on  one  of  the  most  entertaining 
sections  of  the  Bay,  finding  its  exit  in  the  broad  harbor  of  Manchester-by- 
the-Sea,  has  been  in  the  family  of  Mr.  George  R.  White  for  many  years. 
Recently,  from  the  Putnam  family,  he  acquired  adjoining  acres,  enabling  him 
to  rebuild,  adding  greatly  to  the  original  house,  and  so  entirely  changing  its 
character  and  significance.  The  alteration  entailed  considerable  engineering 
skill.  The  old  Putnam  house  had  to  he  removed  and  the  outline  of  the 
ground  changed  somewhat.  Then  there  were  trees  to  lift  from  their  original 
anchorage  that  they  might  assume  new  importance  as  setting,  facilitating 
the  view,  boundaries  to  re-form  following  a new  line  and  a new  direction, 
roads  to  rebuild,  shrubbery  to  replant,  to  extend  further  the  idea  of  the 
French  chateau  type  of  architecture,  wherein  the  building  is  enclosed  within  a 
private  park. 

Lilliothea  was  named  by  an  Indian  chief,  on  the  occasion  of  his  visit  to 
the  original  house  some  time  ago,  because  of  the  breadth  and  charm  of  its 
wonderful  view.  It  was  a clear  day,  so  clear  that  the  chief  could  see,  look- 
ing south,  much  of  the  ragged  outline  of  the  coast,  and,  of  course,  the 
beautiful  homes  of  Beverly  Farms  and  Marblehead,  and  beyond  Massachu 
setts  Bay  with  many  of  its  islands.  Looking  north  as  the  fog  lifted,  Eastern 
Point  came  into  view,  marking  the  entrance  of  Gloucester  harbor. 

That  Mr.  White  selected  for  his  residence  that  peculiar  phase  of  the 
architecture  which  is  forever  associated  with  the  Renaissance  of  Francis  I 
is  a source  of  congratulation  by  no  means  confined  to  the  area  worthily 
known  as  the  Athens  of  America.  It  is  not  surprising  to  find  that  this  type 


319 


RECALLING  THE  CLOISTER  OF  CASTLE  BLOIS,  THE  LOGGIA  IS  SIGNIFICANT 

The  most  engaging  view  of  the  valley  is  the  one  obtained  from  the  loggia  upon  the  main  axis  of 
the  house,  opening  upon  the  living-room.  The  flat  arches,  caps  and  diapered  pillars  are  interesting. 
The  balustrade  is  of  bronze  which  is  accepting  tones  of  emerald  and  russet  imposed  by  the  sea  air 

of  building,  wayward  and  charming,  witii  picturesque  grouping  and  wealth  of 
ornament,  appeals,  because  it  is  magnetic.  Of  the  grand  manner  we  have 
surely  had  more  than  enough.  This  school  of  architecture  attracts  by  the 
gaiety  of  its  color — red,  white,  purple  and  green — the  distinction  of  its  out- 
lines. Think  for  a moment  of  the  silhouette,  examine  it  and  see  how  the 
owner  may  have  minaret  or  dormer  adjoining  that  tall  roof,  balcony  or  loggia 
almost  wherever  lie  likes.  We  of  the  new  America  who  have  always  flirted 
more  with  France  than  with  England  naturally  prefer  the  French  interpreta- 
tion of  this  fascinating  form  of  architectural  independence  to  that  more 
sturdy  work  adopted  by  the  I .one  Isle.  This  house  reminds  those  of  ns  who 
cherish  such  things  seriously  of  an  interesting  but  somewhat  forgotten  section 
of  French  chateau  building,  which  happens  to  be  singularly  adapted  not  only 
to  this  property  but  to  other  properties  belonging  to  other  people  along  the 
great  coast  line  of  New  England. 

Study  has  been  made  of  the  general  lay  of  the  land,  which  comprises  a 


320 


HOME  OF  MR.  G.  R.  WHITE,  MANCHESTER-BY-THE-SEA,  MASS.  321 


big  hill  on  the  broad  shoulder  of  which  the  house  stands.  It  has  also  a small 
valley,  where  the  garage  and  stable  are  comfortably  located  behind  ever- 
green plants.  Here  also  are  the  yards,  enclosed  and  concealed,  but  con- 
venient for  service.  Every  frontage  has  so  well  been  studied  that  strictly 
there  is  not  any  rear  elevation.  The  building,  having  received  study  as  a 
unit,  stands  free  and  clear.  Indeed,  this  was  imperative,  considering  the  prom- 
inence of  the  site  and  the  character  of  the  design.  We  must  remember  that 
the  one  thing  which  attracts  as  we  examine  closely  the  best  houses  of  the  old 
country  is  the  fact  that  they  are  a complete  picture  within  themselves.  What, 
for  instance,  is  more  engaging  than  Azay-le-Rideau,  engaging,  if  you  please, 
not  for  its  magnitude  nor  startling  cost  nor  indeed  for  its  geographical  posi- 
tion, but  for  the  picture  it  makes?  It  is  a little  gem  within  itself  and  every- 
thing about  it  is  beautiful.  Lilliothea  has  this  quality  beyond  a doubt. 


The  architect  of  Lilliothea  has  ac- 
cepted the  circular  tower  as  well  as 
the  octagonal  tower,  making  of  it  the 
accent  somewhat  after  the  fashion  of 
that  adopted  in  the  Castle  Azay-le- 
Rideau,  the  Castle  Chenonceaux  and 
Chateaudun.  The  monumental  chim- 
neys, exalted  dormers  and  many- 
membered  cornices  recall  Chambord, 
the  magnificent  palace  of  the  danc- 
ing, rippling  Loire,  whose  valley  is 
famous  for  its  country  houses. 

Rambling  through  the  chateau  land 
of  F ranee  and  remembering  the  op- 
portunities of  America  with  its  rich 
material  and  brilliant  climate,  it  is 
astonishing  to  realize  that  this  style 
of  architecture  has  waited  so  long  to 
be  acknowledged  here,  to  be  added  to 
the  equipment  of  the  architect  ! It 
only  requires  to  be  known  to  be  ap- 
preciated, to  be  adapted.  True,  Ave 
no  longer  have  Leonardo,  the  mag- 
nificent, the  incomparable,  but  Ave 
haA  e splendid  workers  sensitive  to  the 
finger  tips,  who  can  drink  as  deeply 
of  the  spring  which  inspires. 


THE  ENTRANCE  PORCH 

It  is  of  the  type  known  in  Europe  as  way- 
ward and  charming,  characterized  by  picturesque 
grouping  and  wealth  of  ornament.  AVe  are  de- 
lighted to  welcome  it  heartily  on  our  shores  as 
a hint  to  other  wealthy  citizens  to  build 


322 


THE  GARDEN  COURT  IS  ACCENTED  BY  AN  OVAL  LILY  POOL  APPROACHED  BY  CONCRETE  STEPS 


THE  SOUTHERN  FRONTAGE  IS  IMPRESSIVE  AND  VERY  BEAUTIFUL 

The  classic  pediment  of  the  main  entrance  is  made  to  count,  as  a painter  would  say,  in  vivid  con- 
trast with  the  vine-clad  walls;  the  four  white  pillars,  standing  free  and  clear  of  any  mantling,  add 
interest  to  the  ivy,  and  the  ivy  forces  into  prominence  the  delicate  Hidings  of  the  pillars 


The  Home  of  Mr.  George  Eastman,  Rochester,  N.  Y. 

J.  Foster  Warner,  architect 
Ailing  DeForest,  landscape  architect 

Illustrations  from  photographs  by  William  Hale  Kirk 

THERE  are  many  pleasing  things  to  be  said  about  the  house  and  gar- 
den of  Mr.  George  Eastman,  at  Rochester;  still,  possibly  the  one 
worthy  of  notice  is  that  it  has  been  so  contrived  as  to  make  the  most 
of  the  site.  By  that  I mean  that  the  house  lias  been  located  away  from  the 
center  of  the  property,  within  a short  distance  of  the  easterly  boundary 
line.  Behind  this,  following  somewhat  the  same  axial  line,  are  the  enclosed 
garden,  palm  house,  conservatory,  garage,  hothouses  and  the  rest  of  it.  Al- 
most half  of  the  property,  running  from  East  Avenue  to  University  Ave- 
nue, is  left  undisturbed,  a free,  open  meadowland.  This  breathing  space  is, 
indeed,  priceless.  It  introduces  the  quality  of  scale.  It  permits  interesting 


323 


324 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


diagonal  views  and  bestows  a sense  of  the  open  country,  which  is,  indeed,  re- 
markable when  we  remember  that  it  is  well  within  the  limits  of  the  city.  Ex- 
cellent use  has  been  made  of  these  ten  acres,  which  form  the  last  section  of 

the  old  Culver 
farm.  The  gar- 
den was  plant- 
ed and  the 
house  built 
some  eight  or 
ten  years  ago. 

The  views 
before  us  have 
an  engaging 
quality  of  Old 
World  grace 
which  suggests 
age — no  little 
tribute  to 
the  planting 
scheme — and  to 
t li  e way  in 
which  the  right 
creepers  have 
been  selected 
and  fostered. 
The  creepers 
have  changed 
the  outline 
of  everything. 
Look,  for  in- 
stance, at  the 
southern  front  - 
a g e , wherein 
the  classic  ped- 
iment of  the 
main  entrance 


THE  PALM  HOUSE  IS  PART  OF  THE  GENERAL  SCHEME 

The  palm  house  is  connected  with  the  house  by  means  of  a colonnade 
of  unusual  richness  in  color,  and  so  constructed  as  to  shelter  some  rare 
specimens  of  English  ivy,  which  need  protection  from  the  severity  of  our 
winter.  It  shelters  also  orchids  of  tender  age  and  wondrous  color 


is  made  to  count,  as  a painter  would  say,  in  vivid  contrast  with  the  vine- 
clad  walls.  The  same  graceful  covering  continues  on  the  northern  front, 
mounting  to  the  cornice,  and  bringing  into  notice  the  slightly  projecting 
bay-window  of  the  living-room.  It  appears  also  on  the  wing  of  which  the 


THE  HOME  OF  MR.  GEORGE  EASTMAN,  ROCHESTER,  N.  Y.  325 


dining-room  is  a part.  It  embraces  the  palm  house,  changing  entirely  the 
architectural  composition  of  the  colonnade,  which  connects  the  house  with 
that  interesting  home  for  tropical  plants,  so  that  no  one  asks  if  it  hides  a 
pilaster  or  a column.  The  cap  is  out  of  sight  and  much  of  the  entablature 
is  concealed  from  view.  At  its  own  sweet  will  it  follows  the  outline  of  per- 
gola on  westerly  side. 

The  original  slope  of  the  garden  has  been  changed  somewhat,  so  as  to 
give  a more  rounded  surface  to  the  lawn-like  meadow.  Along  the  boundary 
line  there  is  a border  planting,  the  height  of  which  varies  in  places.  The  cen- 
ter of  the  garden  court  is  accented  by  an  oval  lily  pool  approached  by  con- 
crete steps.  The  air  is  fragrant  with  the  glorious  magnolia,  a thriving  plant, 
very  symmetrical,  whose  cuplike  blossoms,  edged  with  pink,  are  often  filled 
with  early  snow.  It  is  interesting  to  note  the  way  in  which  the  greenhouses 
are  brought  into  the  scheme.  They  open  upon  the  long  howling  green,  ex- 
tending to  the  old-fashioned  rose  garden  with  diagonal  walks  paved  with 
brick,  edged  with  box  and,  in  certain  places,  with  turf.  At  the  intersections 
will  be  recognized  well-curbs,  or  heads,  from  some  ancient  palace  in  Italy. 
There  are  many  advantages  in  this  method  of  triangular  bedding;  one,  the 
plants  are  well  within  reach.  The  garden  has  been  studied  for  a continuous 
display  of  flowers  throughout  the  year  and  so  arranged  as  to  produce,  viv- 
idly, an  agreeable,  harmonious  picture.  Taken  haphazard  and  at  a glance, 
we  recognize  foxglove,  larkspur,  poppy  and  sunflower,  pinks,  bleeding  heart 
and  tiger  lilies.  In  certain  places,  more  or  less  protected,  will  be  seen  nar- 
cissus, golden  J apanese  cypress  and  forget-me-nots.  English  ivy  is  treasured 
and  sheltered.  It  has  assigned  to  its  own  peculiar  enjoyment  the  long  colon- 
nade connecting  the  dining-room  with  the  palm  house.  For  its  special  bene- 
fit the  colonnading  is  enclosed,  during  the  winter,  in  glass.  Ivy  is  to  he 
seen  luxuriantly  filling  much  of  the  space  between  the  greenhouses.  It  also 
forms  an  interesting  wainscot  around  the  foundation  wall  and  bordering  to 
the  edge  of  the  path. 

In  plan  the  house  is  L-shaped.  The  roof  is  somewhat  unusual  and  is 
of  the  mansard  type.  It  is  a fireproof  building,  covered  with  spruce  shin- 
gles, split  by  hand  from  heavy  logs  brought  from  the  Adirondack  forest.  It 
is  of  the  general  character  of  the  houses  built  in  England  during  the  time 
of  the  Georges,  and  is  constructed  of  dull,  fawn-colored  brick.  The  openings 
are  well  placed,  well  proportioned;  the  chimneys  are  large  and  important. 
The  quoins,  heads  and  sills  of  windows  and  doors  and  coping  of  the  parapet 
to  the  gables  are  of  stone.  A stone  balustrade  surrounds  the  garden,  con- 
necting it  with  the  pergola.  And  of  course  stone  is  the  material  of  the  pedi- 
ment of  the  entrance,  with  its  Corinthian  caps  and  fluted  columns. 


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326 


THE  MAIN  APPROACH  TO  THE  HOUSE  FROM  THE  CIRCULAR  COURT 

Here  has  been  contrived  a connecting  link  between  the  new  house  and  the  old  avenue  by  means 
of  a circular  court.  The  circle  is  often  a timely  friend,  laughing  at  axial  lines,  yet  ever  willing  to  oblige 


The  Home  of  Mr.  William  Hall  Walker, 
Great  Barrington,  Mass. 

Carrere  & Hastings,  architects 
Ferruccio  Vitale,  landscape  architect 

Illustrations  from  photographs  and  original  drawing 


Here  is  a surprise,  a secret.  In  the  Berkshires,  the  most  romantic  sec- 
tion of  western  Massachusetts,  in  the  fertile  valley  brought  by  the 
poet  Bryant  into  the  world  of  things  intimate  and  real,  there  is  a 
walled  garden  concealed  bv  waving  forests,  elm-shaded  roads,  exalted  hill- 
sides, gray  precipices,  deep  shadows.  It  is  a surprise  even  to  those  who  know 
well  the  beautiful  round-topped  hills  of  Great  Barrington,  where  the  Green 
River  runs  swiftly  over  the  shallows  into  the  Housatonic. 

, Turning  in  from  the  southern  entrance  gate,  the  visitor  to  Brookside 
passes  through  a double  avenue  of  lofty  elm  trees  nearly  a century  old,  won- 
derful in  their  majestic  outline,  and  beyond,  across  the  circular  fore-eourt, 
catches  the  first  glimpse  of  the  gables  of  the  Tudor  hall,  the  present  home 


327 


SKETCH  PLAN  REVEALING  A PORTION  OF  THE  PROPERTY 

Here  will  be  seen  the  Housatonic,  the  two  lakes,  the  long  avenue  of  elms,  the  sunken  garden  and 
the  house,  and  a little  to  the  right,  following  a center  of  its  own,  among  the  trees,  the  rose  garden 


328 


HOME  OF  MR.  WM.  HALL  WALKER,  GREAT  BARRINGTON,  MASS.  329 


of  the  Walkers.  An  engaging  vista  is  this,  and  no  little  tribute  to  the 
thoughtful  scheming  of  the  landscape  architect,  who,  by  adroit  replanting  of 
big  trees  and  shrubs  from  an  outlying  section  of  the  property,  has  brought 
into  academic  prominence  the  terrace  approach  of  the  new  hall  and  the 
splendid  long  avenue.  For  years  has  this  regal  alley-way  led  up  to  a house 
formerly  standing  upon  this  site,  but  which  was,  unfortunately,  destroyed  by 
fire  some  years  ago.  Messrs.  Carrere  and  Hastings  are  the  architects  of  the 
present  interesting  building  with  its  stately  terrace  and  dignified  approach. 
Fountains  which  spring  literally  from  the  ground  in  unexpected  places 
recall  the  Spanish  gardens  of  Zoraya  Generalife  at  Granada,  and  the  secret 
fountains  and  myrtle  hedges  of  the  Alhambra.  Water  is  also  used  as  a stim- 
ulating element  to  the  four  decorative  groups  which  appear  in  the  alcove 
of  the  walling  flanking  the  arbors,  giving  the  playful  antics  of  two  children. 
The  views  give  some  idea  of  the  serious  architectural  entrances,  the  massive- 
ness of  the  piers,  the  delicacy  of  the  wrought-iron  gates  from  the  land  of  the 
Doges.  Their  delicately  interlacing  tracery  of  leaves,  tendrils  and  fruit 
recalls  quaintly,  conventionally,  the  vine  of  northern  Italy"  as  grown  by  the 
peasants  and  as  used  by  the  craftsmen  of  the  great  Renaissance  as  a deco- 
rative motive. 

The  garden  is  in  two  levels:  the  upper  level  planted  with  perennials, 
great  bushes  of  them,  standing  boldly  against  the  walls  forming  a back- 
ground, and  the  glorious  boltonia,  helenium  and  asters  and  hydrangeas.  By 
steps  in  the  paths,  which,  by  the  way,  are  paved  with  red  brick  herring-bone 
pattern,  the  roses  are  reached  on  the  lower  level.  They  have  distinctly  a king- 
dom of  their  own  splendidly  contrived.  There  is  about  the  whitish-gray 
sweet  alyssum  which  forms  an  outline  to  the  violet  heliotrope  an  effect  of 
snow — snow  after  several  days  lying  upon  the  ground.  It  has  here  consider- 
able dramatic  value;  I say  dramatic,  because  it  seems  to  be  strong  and  vigor- 
ous and  to  introduce  into  the  garden  a quality  unusual  in  the  summer  time, 
in  the  spring,  or  in  the  fall.  It  is,  as  it  were,  a memorandum  of  the  snows 
of  winter,  of  the  wonderfully  translucent  hoar-frost  of  winter.  It  has  a 
nymphlike,  coquettish  and  certain  naive  quality  of  its  own ! It  scarcely  looks 
like  a flower!  It  certainly  does  not  resemble  snow.  What  is  it?  Is  it  a mould, 
a plumage?  It  is  pagan  in  its  purity.  And  yet  it  is  a quaint  part  of 
the  philosophy  of  color,  the  dramatic  layout  of  a scheme  wherein  everyday 
plants  are  utilized  for  a definite  end.  The  sweet  alyssum  unites  with  the  lace- 
like joints  of  the  pavement,  unifies  the  mauve  of  the  heliotrope  with  the 
grayish  green  of  the  under  side  of  the  leaves  and  the  buds,  forming  a deli- 
cately woven  tapestry  on  which  the  roses  appear  like  rubies  in  a diadem.  It 
is  all  beautifully  contrived,  for  the  painter  has  here  used  living  pigments  for 


AFTER  ALL,  A MERE  THISTLE  HOLDS  ITS  OWN  IN  THE  REALM  OF  BEAUTY 

Facetious  is  the  idea  that  the  Palace  of  Diversion  is  a condition  of  mind;  to  the  bees  finding  a 
luscious  morsel  in  the  head  of  thistle  when  sun  is  bright  and  air  still,  it  is  more  sustaining 


330 


HOME  OF  MR.  WM.  HALL  WALKER,  GREAT  BARRINGTON,  MASS.  331 


his  palette.  This  queen  of  flowers,  t he  glory  of  the  spring,  once  but  a briar, 
coloring  the  literature  of  the  Orient  and  famous  in  medieval  days,  has  be- 
come a rare  charmer,  surpassing  every  other  tenant  of  the  garden,  a tribute 
alike  to  man’s  persistence  and  skill,  his  indomitable  energy,  his  tender  nurs- 
ing. In  classic  Rome  the  rose  was  used  as  a symbol  of  secrecy  and  silence, 
decorating  the  floors  of  the  banqueting  halls,  a pretty,  vivid  request  that  all 
things  spoken  therein  were  privileged,  hence  the  saying  “under  the  rose.” 

The  designer  is  a sad  rogue!  Of  course,  like  every  other  skilled  profes- 
sional man,  he  has  studied  thoroughly  the  Oriental  method  by  which  water  be- 
comes a decorative  element,  only  with  the  utilitarianism  of  his  age  he  has  so 
used  this  wonderful  force  that  it  is  not  only  highly  decorative  but  very  serv- 
iceable. By  an  ingenious  device  the  garden  is  watered  systematically  and 
equally  all  over.  Spaced  about  fifteen  feet  apart,  controlled  by  a concealed 
outlet,  tiny  jets  of  water  can  be  turned  on,  spreading  an  artificial  rain  over 
the  entire  area.  Of  course,  the  pipes  run  underground  and  are  hidden  from 
view.  In  the  Second  Empire  of  the  F rench  some  such  method  was  resorted 
to  as  a trick  played  upon  an  unsuspecting  visitor  whereby  in  certain  parts  of 
the  garden  he  was  suddenly  confronted  with  an  unexpected  shower.  They 
were  great  times  for  the  dandy  and  the  giddy  butterfly.  Watteau  reveals 
it  in  his  canvases,  and  Voltaire  numbers  it  among  the  frivolities  of  that 
childish  age. 

It  is  said  to  be  the  aim  of  the  architect,  as  of  the  musician  and  poet,  to 
touch  the  heart  of  the  public.  Here  there  is  much  resembling  the  arrange- 
ment of  a beautiful  sonata  embodying  a noble  passion  of  vital  interest,  and 
here  in  this  locality  may  also  he  some  potent  power  appealing  to  con- 
scientious workers  who  entertain  us  with  their  skill.  In  this  valley  Bryant 
wrote  some  of  his  best  poems,  immortalizing  the  neighborhood  by  his  inspir- 
ing pen.  Here  he  wrote  “The  Yellow  Violet,”  the  poem  “June,”  and  the 
most  stern  and  stately  blank  verse  poem,  grand  in  its  sweep  and  picturesque 
in  its  grouping,  for  which  he  will  ever  he  remembered.  He  told  patheti- 
cally and  primitively  the  story  of  the  poor  Indian  girl  among  the  precipices; 
and  here  the  shy  poet  met  the  sweet  woman  he  married. 

The  secret  of  this  romantic  valley,  the  surprise  in  this  utilitarian  age, 
is  that  from  everyday  materials  such  beautiful  thoughts  and  such  exquisite 
places  of  retreat  are  bestowed  upon  our  daily  life,  and  that  gardens  walled 
from  the  troubles  of  an  exacting  and  never-satisfying  life  invite  like  the  smile 
of  a superb  personality  by  virtue  of  the  charm  hidden  therein.  A walled 
garden  is  a delight. 


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332 


The  Berkshire  Estate  of  Mr.  Warren  M.  Salisbury 

Walker  & Gillette,  architects 

Illustrations  from  photographs  and  original  drawings  by  Tebbs-Hymans,  Ltd. 

NTIL  some  three  or  four  years  ago  Tor  Court  was  a portion 
of  the  old  Valentine  property,  and  Mr.  Henry  C.  Valentine 
still  retains  the  peninsula  of  some  three  hundred  acres  jut- 
ting out  into  the  lake.  The  hilly  section,  with  its  enchanting 
grove  upon  the  eastern  shore  of  the  lake,  is  now  the  country 
home  of  Mr.  Warren  M.  Salisbury.  The  old  house  has  been 
removed  and  a new  one  built  upon  the  original  site,  running  east  and  west, 
with  a service  wing  at  the  east  end  extending  in  a northerly  direction.  It  is  a 
mighty  interesting  building,  constructed  of  concrete  blocks  reinforced  in  the 
most  up-to-date  manner  bjr  the  adroit  use  of  steel  beams,  ties  and  girders. 
The  outer  surface  to  the  walling  is  floated  with  stucco,  which,  like  the  con- 
crete blocks,  is  made  from  material  quarried  upon  the  site  with  the  addition 
of  Portland  cement.  It  might  somewhat  embarrass  the  contractor  had  the 
architect  specified  any  of  the  Roman  varieties  of  “Opus  Mixtum”  or  “Opus 
Incertum,”  but  the  silica  which  forms  so  large  a part  of  this  twentieth  cen- 
tury mixture  vouchsafes  a surface  surpassed  by  none  and  equalled  by  few 
materials  of  ancient  days. 

Although  the  outside  of  the  house  recalls  vividly  Roman  proportions, 
within  everything  is  indeed  modern  and  up-to-date,  being  in  every  way 
a country  house  for  the  enjoyment  of  the  milder  period  of  the  year.  The  gen- 
eral scheme  provides  for  a large  central  hall  which  is  reached  on  the  northern 
side  direct  from  the  porte-cochere,  and  from  the  southern  side  by  means  of 
the  large  open  portico  under  the  pediment.  The  hall  is  two  stories  in  height, 
having  a gallery  running  around  the  upper  story,  contributing  to  a whole- 
some sense  of  space  and  of  daylight.  For  the  latter  we  are  indebted  to  the 
well-shaped  lantern  light  overhead.  At  certain  well-centered  sections  of  the 
walling  large  panels  of  pastoral  scenes  appear.  They  are  painted  some- 
what after  the  fashion  of  the  Watteau  and  Fragonard  school,  in  soft  tones 
of  silvery  gray  and  translucent  white,  possessing  somewhat  the  quality  of  the 
pearl  when  viewed  in  a certain  light. 

From  the  central  hall  the  house  opens  well.  The  easterly  end  accommo- 
dates the  dining-room  and  breakfast-room — casino  it  might  well  be  called, 


333 


VIEWS  RADIATE  FROM  THE  UPPER  TERRACE,  DISCLOSING  PICTURE  OF  THE  LAKE 

And  the  object  of  the  vistas  is  to  bring  in  the  outside  world.  It  is  a sociological  as  well  as  a 
landscape  architectural  device.  Is  not  one  of  the  ob  jects  of  life  in  the  country  or  elsewhere  to  develop 
mankind  through  the  amenities  of  the  home  by  means  of  broadening  and  intensifying  as  well  as  exer- 
cising the  feelings  and  stimulating  the  imagination?  It  is  the  bright  light  of  the  lake  which  illumines 
the  scene.  It  is  towards  this  that  the  eve  naturally  turns.  It  is  this  which  gives  value  to  the  dark 
green  of  the  pine,  the  newer  green  of  the  chestnut  and  of  the  meadow  upon  which  they  stand 


334 


THE  BERKSHIRE  ESTATE  OF  MR.  WARREN  M.  SALISBURY  335 


for  it  is,  in  a way,  detached  from  the  architectural  note  of  the  house.  Here  is, 
indeed,  a romantic  chamber,  a little  memorandum  of  outside,  a delightful 
place  for  the  early  morning  meal.  It  is  vaulted,  and  the  vaulting  is  accented 
in  places  by  ceramic  decoration,  by  tile  inserts  and  soft  coloring.  The  pave- 
ment is  unusual.  The  general 
color  note  is  that  of  autumnal  fo- 
liage. It  is  cool,  quiet,  subdued 
and  very  engaging.  The  table  is 
practically  a marble  altar  sup- 
ported by  legs,  cut  after  the 
manner  of  the  bronze  candela- 
brum found  in  Pompeii. 

The  narrow  panelling  between 
the  wide  open  sj^aees  of  the  oak, 
wherein  the  exquisite  marking  of 
the  wood  is  the  only  enrichment, 
is  interestingly  ornamented  by 
arrangements  of  fruit  and  leaves, 
attached  by  ribbon-like  ornament 
carved  out  of  the  solid.  The 
mantel  is  of  a highly  polished 
Italian  marble  of  rare  beauty. 

And  a word  should  be  said  about 
the  ceiling,  which  is  particularly 
noticeable,  exciting  admiration 
for  the  way  in  which  the  surface 
is  subdivided  by  means  of  mould- 
ed ribs.  This  eighteenth  century 
composition  is  very  effective. 

Balancing  this  on  the  westerly 
side  of  the  central  hall  is  the 
living-room,  connected  with  the 
porch,  from  which  center  three 
long  vistas  cut  through  the  na- 
tive woods,  so  that  enjoyment  of 

the  lake  and  distant  hills  is  made  possible,  adding  greatly  to  the  pleasure  of 
the  scene.  The  groves  are  of  exquisite  beauty,  densely  green  in  places.  Occa- 
sionally an  oak  seems  to  defy  its  neighbor  by  lifting  its  exalted  limbs  high 
overhead  with  strength  and  endurance,  and  the  American  elm  gives  a gra- 
cious benediction,  shaping  the  woods  when  viewed  at  a distance. 


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SKETCH  OF  PORTION  OF  PROPERTY 

The  drawing  gives  general  position  of  the  house 
in  relation  to  the  lake,  the  long  garden  with  terraces 
and  continuous  pergola  with  circular  pool  at  far  end. 


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336 


THE  JAPANESE  LILY  POND,  WITH  WATER  PLANTS 

The  tea-house  is  constructed  of  cedar  posts  with  marked  indifference  as  to  exact 
girth,  color  or  texture;  plants  are  bedded  in  deep  pots  standing  in  water  permitting 
attention  and  enabling  the  removal  of  any  plant  or  the  substitution  of  others 


The  Brookline  Garden  of  Mrs.  John  L.  Gardner 

Designed  by  owner,  assisted  by  J.  R.  Coolidge,  Jr.,  architect 


Illustrations  from  photographs  by  Thomas  G.  Marr 


IT  was  recently  said  by  a great  writer  that:  “When  yon  see  the  garden 
you  realize  something  of  the  gracious  owner.  You  get,  as  it  were,  a 
glimpse  of  the  woman,  and  in  classifying  the  whole  delightful  experience 
yon  find  yourself  speaking  more  of  the  heart — yes,  of  the  heart — than  of 
the  skill  of  the  designer.”  This  means,  if  it  means  anything,  that  more  care 
and  thought  has  been  consciously,  lovingly  vouchsafed  to  living  plants,  to 
the  shrubs  and  trees  than  to  stern  proportions  of  some  vogue,  period  or 
style.  Of  course,  the  lover  of  nature  is  a willing  slave,  making  to  slavery 
no  objection,  providing  she  can  select  her  own  taskmaster.  A steadfast  be- 
liever in  the  character  of  the  word  “service,”  to  her  the  requirements  of  the 
plants  entrusted  to  her  keeping  are  paramount.  Of  course,  she  is  bjr  no 
means  blind  to  general  academic  rules.  There  came  after  a time,  even  in 

837 


338 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


France,  that  headquarters  of  hereditary  architecture,  a certain  revulsion  of 
feeling  against  the  stern  lines  of  academic  proportion  and  a preference  for 
the  simplicity  of  rustic  adornment  which  was  so  diametrically  opposed  to 
the  luxuries  and  artificialities  of  town  life.  This  rustic  simplicity  is  very  well 
shown  in  the  hamlet  and  dairy  buildings  with  its  cottages  built  for  Marie 
Antoinette  at  the  Petit  Trianon.  Much  of  it  lives  also  in  the  rustic  village 
at  Chantilly.  It  is  to  be  seen  also  in  Rousseau’s  cottage,  and  in  the  garden 
house  at  Laborde.  These  were  prominent  among  the  picturesque  attempts 
to  break  away  from  the  stern  formality  of  the  seventeenth  century  and  to 
accept  as  infinitely  more  reasonable  and  wholesome  “The  Natural  Style.” 
French  society  was  led  away  from  the  extravagance  and  grandeur  of  Le- 
notre’s  architectural  gardens.  Possibly  this  was  prompted  by  the  literature 
of  the  time,  by  the  writing  of  such  men  as  Jean  Jacques  Rousseau,  Horace 
Walpole  and  others  on  the  ideals  of  the  English  gardens. 

The  mind  of  the  designer  of  this  delightful  garden  at  Brookline,  Mass., 
evidently  worked  in  bondage,  hut  a willing  bondage,  to  a lofty  ideal.  This 
slavery  is,  in  fact,  the  livery  of  all  thinkers  whose  realism  is  still  in  some 
degree  controlled  by  certain  recognizable  proportions  and  requirements,  an 
affectionate  bond  between  the  best  of  the  Renaissance  and  of  the  present 
times.  It  knows  the  efficacy  and  potency  of  form,  the  privilege  of  collect- 
ing, studying,  comparing  and  rejecting,  and  is  alive  also  to  the  attractions 
of  the  gardens  of  Italy,  France  and  England,  realizing  that  the  plants  are 
not  merely  introduced  for  their  decorative  value,  their  texture,  perfume, 
or  color,  but  that  they  are  guests  in  the  garden — which  is  their  kingdom  of 
love.  Of  course,  there  have  to  be  borders,  terraces,  beds,  some  even  geomet- 
rical in  form;  there  must  be  an  underlying  grammar,  boundaries  and,  to  an 
extent,  architectural  accent.  But  this  must  be  largely  done  for  the  conven- 
ience of  getting  at  the  plants,  of  tending  them,  sheltering  them,  and  of  seeing 
that  they  are  well  watered,  well  drained,  that  their  roots  can  be  trimmed  as 
well  as  their  branches,  and  that  they  be  fed  with  the  proper  character  of 
soil.  This  has  been  too  often  forgotten,  even  by  the  landscape  gardener; 
still,  to  the  plants  it  is  vital. 

Rather  than  a grand  pergola  of  stone  or  brick  pillars,  capped  and  hear- 
ing at  regular  intervals  rafters  moulded  and  carved,  the  grape  arbor  is  here 
a captivating  alley-way  encircling  a portion  of  the  garden.  It  is  just  as  aca- 
demic in  line  and  proportion  as  if  it  were  built  of  marble.  It  is  well  propor- 
tioned, serious  and  stately.  The  posts  are  of  natural  cedar  with  the  bark 
remaining  upon  them.  They  are  set  out  carefully  and  thoughtfully,  well 
centered,  supporting  the  luscious  grapes  delightfully.  Benches  are  placed 
so  as  to  preserve  a certain  definite  balance  to  the  picture,  and  in  their  out- 


THE  BROOKLINE  GARDEN  OF  MRS.  JOHN  L.  GARDNER 


339 


line  and  shape  they  are  old  in  spirit  and  so  constructed  as  to  accept  gracefully 
certain  classic  fragments  of  significance.  Supporting  them  also  are  caps, 
vases,  pilasters,  label  mouldings,  sections  of  architraves,  archways  and  classic- 
presentations  of  nymphs,  cupids,  gods  and  goddesses,  bearing  a sensitive  re- 
finement which  no  one  could  well  pass  by  without  turning  to  look  at  them 
the  second  time.  The  faces  of  these  delightful  little  memoranda  of  the  land 
of  ancient  courtesies  and  civilizations  indicate  the  ability  and  skill  of  the  sculp- 
tor and  his  equipment  in  adapting  plantlike  forms  to  ornament  a building. 
They  exhibit  also  the  underlying  sense  of  conventionality  and  reserve. 
Thanks  to  the  vicissitudes  of  the  weather  and  the  ease  with  which  lime  ab- 
sorbs moisture  and  so  fertilizes  lichen  and  moss,  these  delightful  memo- 
randa, fragments,  became  mellowed  into  the  landscape,  taking  of  the  garden 
theme  a certain  little  naive  whispering  of  their  own  which  arouses  the  imag- 
ination. There  is  a charm  in  these  fragments,  Italian  often  in  idea. 

Some  of  the  plants  appear  so  fugitive,  so  fitful,  so  evanescent  and 
spirit-like,  seeming  to  sparkle  and  dance  in  the  sunlight,  a glorious  jubilee. 
Yet  they  must  be  cared  for  and  protected  and,  in  order  to  count  as  decora- 
tive accents  to  the  garden,  they  are  here  grouped  after  a liberal  fashion. 
There  is  nothing  little  or  small  in  the  arrangement.  There  are  huge  clusters 
of  one  family  varying  in  color  and  texture.  The  palette,  voluptuous  in  color, 
is  not  belittled  or  confused  by  subdivision.  It  is  ennobled  by  massing  after 
a big  and  wise  juxtaposition  of  tone. 

The  impulse  to  realize  to  the  full  the  underlying  charm  of  plant  life  is 
irresistible.  Perhaps  the  greatest  of  all  the  secrets  of  the  old  gardens  is  the 
arrangement  of  the  plants,  the  selection  of  them.  By  that  I mean  in  prac- 
tical lingo  the  assembling  of  the  plants  peculiarly  adapted  to  a specific 
purpose  and  occasion.  Our  grandparents,  in  their  wisdom,  exercised  the  cul- 
tivating spirit  of  contentment.  Their  gardens  were  not  kaleidoscopic. 
Neither  were  they  microscopic  or  confusing  by  any  other  phrase.  They  were 
big  in  spite  of  their  inches;  knowing  where  to  stop,  they  contented  themselves 
with  a few  beauties  and  husbanded  them  aright. 


340 


A GARDEN  HOUSE,  A GARDEN  HOUSE  INDEED,  A HOME  OE  FRAGRANT  FLOWERS 

Try  how  you  will,  it  seems  impossible  to  class  this  by  the  material  of  which  it  is  built ! Rather  are  we  concerned  with  its  adorn- 
ment. It  is  a fascinating,  flower-covered  house  garlanded  with  roses  and  wistaria,  where  linger  memories,  promptings  to  the  imagination 


Home  of  Mr.  James  M.  Rhodes,  Ardmore,  Pa. 

Mcllvain  & Roberts,  architects 

Illustrations  from  photographs  by  the  architects 

OF  course,  to  everyone  the  study  of  home  building  is  an  engaging  occu- 
pation. Through  all  our  struggles  with  style  and  material,  the  vexed 
problems  of  plan  and  outlook,  there  lives  in  the  mind  of  many  the  rose- 


covered  cottage,  the  picture  of  which 
which  the  most  human  literature  of 
all  time  is  perfumed. 

As  an  architect,  I can  scarcely 
think  of  a more  popular  and  more 
welcome  contribution  to  the  problem 
which  ever  engages  a man  in  general 
practice.  Here  is  something  for 
everyone,  far  above  everyone,  com- 
mon to  every  class  and  time  and  ex- 
posure; and  yet.  strange  to  say, 
though  it  be  well  within  the  reach  of 
the  most  reasonable  purse,  we  rarely 
find  it!  This  means,  if  it  means  any- 
thing at  all,  that  in  this  impatient  age 
we  won’t  even  let  the  plants  grow! 
We  forget  to  make  proper  provision 
for  them.  They  may  or  may  not 
cling  to  the  walling  of  the  house  or 
fall  away.  It  is  so  often  a matter  of 
mere  chance.  Yet  their  needs  are  so 
easily  supplied.  Plants  require  pock- 
ets for  nourishing  soil  and  trellis 
work  well  and  substantially  con- 
structed. This  should  be  firred  out 
from  the  wall  so  that  repairs  can  read- 
ily he  made  without  fatal  damage  to 
the  delicate  tendrils,  and  so  that 
painting  day  may  be  less  of  a domes- 
tic tragedy.  Flowers  never  weary  us. 


we  never  tire  of  painting,  and  with 


ANOTHER  PEEP  OF  THE  ENTRY 

Even  a little  sketch  gives  the  spirit  of  the 
theme.  Robust  creepers,  and  poplars  with  many- 
colored  phlox  at  their  feet,  frame  the  picture 


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342 


Mr.  Joseph  H.  Choate’s  Garden,  Stockbridge,  Mass. 

McKim,  Mead  & White,  architects 

Illustrations  from  photographs  by  Samuel  S.  Gardiner 


T is  said  to  be  thirty  years  since  Mr.  Choate’s  garden  at  Stock- 
bridge  was  planted.  It  is  serious,  yet  droll ; indeed,  by  some 
it  is  said  to  exhibit  distinctly  a sense  of  humor.  It  is  set  out 
in  a formal  and  somewhat  unusual  manner,  after  a fashion 
that  Kent,  of  England,  or  those  two  enthusiasts  of  the  eigh- 
teenth century,  London  and  Wise,  might  well  approve.  It  is 
not  only  intensely  low  and  rich  in  tone  by  virtue  of  its  remarkable  yew  trees, 
but  full  of  color.  It  is  at  once  classic,  medieval  and  modern,  a garden  Hooded 
with  sunlight,  kaleidoscopic  in  its  variety  of  colors,  at  times  half -hidden  by 
mysterious  fogs  and  mountain  mists  and  enriched  by  fountains.  The  plan 
is  unusual.  It  is  set  out  so  as  to  make  the  most  of  the  long  hillside  terrace, 
which  terminates  on  each  extremity  in  a semicircular  fort-like  scheme. 
This  is  all  contrived  by  a well-trimmed  hedging,  the  upper  edge  of  which 
is  battlemented  boldly.  At  a distance  it  gives,  in  certain  lights,  quite  a 
formidable  appearance.  At  set  intervals  are  the  grotesque  yews,  very  Dutch 
in  sentiment,  reminding  us  of  merry  May-poles,  of  Dutch  dolls  with  a thou- 
sand petticoats,  of  lions  rampant  and  of  peacocks  forever  posing.  These 
columnal  trees  recall  the  great  temples  of  the  ancient  religions.  They  form 
a contrast  to  the  graceful  foliage  of  the  distance,  the  tender  petals  of  the 
flowers  at  their  feet,  the  great  breadth  and  simplicity  of  the  newly-trimmed 
lawns.  The  fashioning  of  men  and  of  bright  skies  and  woods  and  fields  and 
streams  is  said  to  be  nature’s  best  and  most  distinctive  handiwork. 

In  vivid  contrast  with  the  stately  green  are  the  three  most  distinguished 
flowers  of  antiquity,  the  rose,  lily  and  the  violet,  as  well  as  narcissus, 
anemone,  gladiolus,  poppy  and  crocus,  the  verbena  and  amaranth.  This 
variety  has  an  unusual  charm  when  seen  in  the  early  summer,  because 
white  is  so  distinctly  present  in  the  edges  or  markings  of  the  petals,  and 
white  is  so  valuable  in  a garden  of  this  character.  It  recalls  the  fogs  and 
dew-drops,  the  mysterious  distance  of  the  hills.  It  gives  a semi-translucency, 
forever  associated  with  gardens  of  a great  age.  It  is  the  setting  of  the 
garden  that  counts,  or  rather  the  contrast  between  the  artificial  trimming 
and  the  wild  abandon  of  the  native  woods. 


343 


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344 


MR.  JOSEPH  H.  CHOATE’S  GARDEN,  STOCKBRIDGE,  MASS. 


345 


A topiary  garden  is  said  to  be  full  of  quaint  conceit,  the  sort  of  thing 
which  becomes  a hobby,  a passion,  a vice  even,  any  vituperative  epithet 
you  desire  to  bestow  upon  it.  Nevertheless,  it  is  intensely  human,  enter- 
taining, delightful.  Pliny  speaks  of  his  garden  on  the  shores  of  the  Tuscan 
sea  as  encompassed  with  box,  rosemary  and  myrtle  and  of  a terrace  per- 
fumed with  violets.  Horace  Walpole,  who  built  for  himself  a house  (one 
of  the  monstrosities  of  bis  time),  lavishes  contempt  on  the  application  of 
the  shears  of  the  Roman  gardener,  claiming  that  the  square,  calipers  and 
triangle  were  more  serviceable  in  the  garden  than  was  the  nurseryman.  To 
him  they  were  admirable  material  for  a graveyard,  because  they  are  so  didl 
and  heavy.  Yet  I have  seen  children  rush  madly  through  a maze  and  pour 
their  infantile  confidences  into  the  close  texture  and  then,  half-choked  with 
the  spicy  perfume  of  the  plant,  withdraw  their  heads  into  the  blazing  sun- 
light. What  visitor  to  Hampton  Court  will  ever  forget  the  great  maze, 
the  well-trimmed  peacock  with  spreading  tail,  the  great  pillars  like  the 
lower  section  of  a Doric  column,  a sort  of  glorified  Stonehenge?  Every 
lover  of  quaint  gardens  will  recall  Levens  Hall,  with  its  wonderful  screen, 
known  far  and  wide  as  the  “twelve  apostles,”  one  of  the  curiosities  of  the 
countryside.  Rut  there  is  classic  authority  for  these  strangely  fascinating, 
individual  trees,  which  Ratty  Longly  characterized  as  “ridiculous  and  for- 
bidding.” They  are  said  to  bring  into  the  picture  an  interesting  contrast, 
a change  of  texture  and  tawny  tone  and  to  have  been  first  introduced  by 
Matius,  a friend  of  the  great  Emperor  Augustus. 

The  Roman  gardener  in  his  diligent  search  for  some  element  which 
shall  hold  sunshine  and  shade,  maintaining  a certain  scale  which  shall,  as 
it  were,  carry  on  the  architectural  note  through  the  garden,  prunes  the 
homely  yew,  thus  giving  it  an  importance  it  never  had  before.  The  dip- 
lomatist in  some  of  his  most  important  services  to  the  community  selects 
plain,  every-day  people,  who  assume,  under  skilful  direction,  a great  im- 
portance. It  sometimes  requires  many  years  to  train  some  yews,  others  take 
an  ordinary  outline  without  much  trouble,  becoming  birds-of-paradise,  or 
monkeys,  or  sleeping  lions  at  will.  Selection  of  the  material  has  become, 
in  a way,  the  accepted  dogma  of  our  international  creed.  The  pages  of 
our  diplomatic  records  reveal  the  important  duties  assigned,  at  times,  to 
the  person  of  average  intellect  who  lias  become  capable  of  great  achieve- 
ments under  the  tutelage  of  a more  brilliant  mind.  Years  of  experience 
are  the  shears  with  which  the  ambassador  prunes  the  members  of  his  staff. 


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346 


Garden  of  Mr.  Chester  Thorne,  Tacoma,  Wash. 

Olmsted  Brothers,  landscape  architects 

Illustration  from  photograph  by  A.  MacDougall 

HINK  of  having  a mountain  in  your  own  back  yard,  a pri- 
vate, snow-capped  mountain  thousands  of  feet  high!  True, 
it  is  miles  distant,  hut  it  is  as  effectually  in  your  yard  as  the 
sunlight.  Of  course  it  imposes  conditions,  and  right  royally 
are  they  respected.  Here  is  an  accent  that  was  not  planted. 
It  knows  no  season  nor  change.  It  is  like  a great  spirit  of 
service  at  the  beck  and  call  of  everyone  within  sight,  everyone’s  mountain, 
everyone’s  accent,  and  an  ennobling  inspiration  to  everyone. 

In  some  subtle  and  unusual  way  the  general  layout  of  the  garden  is  so 
devised  as  to  make  the  mountain  a natural  climax,  the  center  of  the  stage 
as  it  were,  bringing  it  into  the  scheme  of  things  in  spite  of  its  distance. 
Does  not  the  Oriental  assign  to  the  place  of  honor  a mountain  capped  with 
eternal  snow?  The  mountain  at  a distance  has  been  brought  into  the  pic- 
ture by  means  of  long,  horizontal  lines,  by  the  general  contrivance  of  walks, 
borders,  boundary  walls,  by  the  preservation  of  certain  natural  trees  and 
the  elimination  of  others  which  interrupt  the  view,  by  good,  architectural  ac- 
cent of  which  two  small  buildings  and  a balustrading  and  a few  other 
things  form  a part.  In  a word,  the  landscape  architects  have  here  so  con- 
trived their  scheme,  playing  up  to  the  mountain,  that  it  becomes  no  longer 
merely  a portion  of  the  distant  scenery  but  is  the  accent  of  the  picture,  the 
accent  that  may  always  be  in  view,  changing  in  its  outline,  intensifying  and 
varying  in  its  color,  always  beautiful,  always  even  through  the  fog  and  mist 
something  which  must  invite,  must  satisfy! 

Landscape  gardening  has  been  described  in  many  ways.  Writers  and 
those  who  practice  the  craft  of  garden  culture  have  vied  with  each  other 
to  class  it  among  the  engaging  occupations  of  a cultivated  mind.  But 
doubtless  he  is  the  biggest  among  his  fellows  who  knows  just  how  to  make 
the  best  of  the  opportunity.  Here  is  glorious  opportunity.  Splendidly  has 
its  advantages  been  realized.  The  idea  that  it  is  within  the  wit  of  man  to 
call  into  his  tiny  kingdom  a great,  natural  beauty  is,  indeed,  a challenge  to 
the  imagination  and  a thing  to  be  remembered!  Incidentally  this  is  a 
splendid  tribute  to  the  engineer.  Too  frequently  does  the  man  of  the  world 


347 


348 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


look  upon  this  serviceable  citizen  as  a builder  of  essential  bridges,  water 
courses,  a designer  of  great  schemes.  Here  he  is  a revealer  of  natural  beau- 
ties, an  entirely  new  phase  of  his  adaptable  character.  Here  he  is  a scene 
painter,  if  you  please,  on  an  immense  scale.  With  a fairy-like  wand  he  has 
called  to  his  aid  a great  priceless  jewel  in  man’s  earthly  coronet  by  a process 
of  leveling  and  a few  skilfully  devised  lines  in  the  little  work  with  the  axe 
and  possibly  the  theodolite. 

Of  course  snow  in  the  back  yard  presupposes  a sense  of  color  values 
and  textures  in  the  preparation  of  the  planting  list,  and  only  those  flowers 
are  permitted  to  enter  that  in  some  way  go  well  with  the  snow.  Just  what 
would  not  go  with  the  snow  I do  not  at  the  moment  venture  to  suggest.  It 
is  said  that  white  in  the  kingdom  of  decoration  harmonizes  with  every  tone. 
There  is  certainly  a fellowship  between  the  flower  and  the  tiny  glistening 
particles  of  frozen  vapor  we  venture  to  classify  in  our  childish  manner. 
The  white  flowers  in  the  garden  and  the  snow  on  the  mountain  are  unified 
by  cloud,  sunlight  and  a thousand  other  conditions.  Here  in  the  garden  are 
large  masses  of  white  which  take  up  the  center  of  the  border  and  are 
prominent  everywhere.  There  are  also  other  colors,  picking  at  random, 
lily-of-the- valley,  common  bush  lilac,  evergreen,  huckleberry  and  Wilson’s 
rhododendron.  Elsewhere  in  another  cluster  is  to  he  noted  Japan  honey- 
suckle and' Virginia  creeper  and  again  tawny  day  lily,  native  maple,  Euro- 
pean linden  and  pine  and  oak.  This  latter  group  extends  to  the  outer  edge 
of  the  garden  border.  Then  there  is  mock-orange,  common  barberry,  white 
pine,  and  there  is  prostrate  juniper,  red  fruit  thorn,  English  ivy  and  Eng- 
lish laurel  and  evergreen  creeper.  Elsewhere,  more  prominent  and  nearer 
to  the  white,  will  be  found  weeping  golden  bell,  Siberian  dogwood,  white 
foxglove,  dwarf  roses  and  wolfberry.  Of  course  snowberry  is  very  prom- 
inent and  Madonna  lily  and  gray  dogwood  as  well  as  trailing  rose  and  wild 
spiraea  and  white  Indian  azalea  and  snowy  lady’s  slipper.  The  edging  to 
the  central  border  is  white  viola  cornuta  and  white  crocus.  Immediately 
adjoining  is  a line  of  dwarf  box.  Running  horizontally  across  the  garden 
ki  corresponding  position  is  yellow  viola  cornuta  with  yellow  crocus  and 
dwarf  box.  Continuing  on  the  far  side  of  the  border,  running  length- 
wise, is  blue  viola  cornuta  with  blue  crocus  and  dwarf  box  hedge.  The  white 
is  also  brought  into  the  picture  by  the  tulips,  peonies,  phlox,  English  daisies, 
Narcissus  poeticus  and  the  Alyssum  saxatile.  Stonecrop  grows  plentifully 
in  the  joints  of  the  flagging.  It  crowds  the  lime,  mortar,  and  eats  up  things 
delightfully.  Of  course  in  tins  kingdom  of  white  there  is  much  green.  It 
is  furnished  by  orange  trees  in  tubs  and  box  bushes  which  continue  as  brave 
outlines  to  the  outer  edge  of  garden  and  the  wide  central  pathway. 


GARDEN  OF  MR.  CHESTER  THORNE,  TACOMA,  WASH. 


349 


The  half  circular  termination  to  the  garden  at  the  far  end  is  architec- 
turally somewhat  serious,  a balustrading  uniting  two  arbors.  The  center  of 
this  half  circle  is  a sun-dial.  Across  the  garden  prominently  against  the 
terrace  walling  is 
Lady  Duncan  rose. 

Here  in  a position  of 
honor  are  the  roses 
Marshal  Niel,  climb- 
ing La  France,  and 
Alfred  Carrier. 

Perhaps  as  a merry 
satire  on  the  formality 
of  a portion  of  the 
place,  a J apanese  gar- 
den is  planted  in  the 
two  corners  by  the 
pool  upon  the  west- 
erly side  of  the  water 
garden.  Small  is  it  in 
scale,  infinitely  per- 
sonal, tilled  with 
quaint  drawing  and 
divers  conceits,  with  a 
wonderful  change  of 
texture  and  of  level. 

It  is  marshy  in  places. 

A child’s  bridge  span- 
ning a narrow  stream 
connecting  two  pock- 
ets gives  a memory  of 
toyland,  permitting 
secure  foothold  be- 
tween the  plants.  Tall 
bearded  iris,  the  fleur- 
de-lis  of  Japan,  in 

orange  and  yellow,  purple,  lavender  and  pink,  are  here,  and  a German  va- 
riety known  as  Innocenza,  glorious  in  raiment  of  white.  Stately  they  stand 
with  their  long,  pointed  leaves,  contrasting  with  miniature  yews,  baby  hem- 
locks and  other  dwarf  trees  of  considerable  age  in  the  shadow  of  the  syca- 
mores. Juniper  bushes  fill  in  round  the  monarchs  of  the  forest. 


SKETCH  OF  WALLED  GARDEN  WITH  POOL  ADJOINING 

A notes  twin  arbors  connected  by  terrace.  B marks  ornamental 
lily  pool  with  bog  garden  and  water  plants  of  bright  color,  for  whose 
benefit  the  pool  is  built  in  three  sections  and  heated.  The  diagonal 
lines  from  pergola  show  direction  in  which  mountain  appears 


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350 


The  Newport  Garden  of  Mr.  W.  Storrs  Wells 

John  Russell  Pope,  architect 

Illustrations  from  original  drawing  and  photographs  by  Julian  Buckly 

E was  a wise  old  player  who  said:  “Commend  me  to  a minor 
part.  Let  the  blustering  fool  take  the  center  of  the  stage, 
with  its  lime-light,  its  endless  posturing,  its  overwhelming 
and  immeasurable  responsibilities.  Give  me  something  to 
do  which  may  be  difficult,  requiring  of  me  considerable 
patience  and  possibly  a momentary  excursion  into  a con- 
spicuous climax.  I ask  a minor  part  that  I may  make  much  of  it.  I care 
not  how  small  the  thing  be,  I will  endeavor  to  make  it  interesting  to  the 
public  in  some  way  or  other  by  putting  my  heart  in  the  work.”  The  playing 
of  small  parts  is  said  to  make  often  a greater  demand  upon  the  ingenuity  and 
mental  equipment  of  the  actor  than  the  portrayal  of  a grand  passion  which, 
sweeping  everything  aside,  dominates  and  owns  the  audience  to  a degree 
threatening  to  neutralize  the  critical  faculty  of  everyone  present.  The  shrewd 
old  player  who  can  make  much  out  of  little  in  a cultivated  and  subtle  man- 
ner may  escape  the  notice  of  the  average  person,  for  a time,  but  the  evidence 
of  study  lingers.  The  actor  with  feeling  in  his  work  is  not  forgotten. 

It  is  practically  the  same  with  the  architect  and  his  problems.  Often 
is  it  easier  to  attack  a big  scheme  than  a little  one  involving  local  restric- 
tions which  so  often  means  great  labor  and  but  little  reward.  It  was  a clever 
society  woman  who  said:  “Your  big  man  is  all  right,  but  the  difficulty  is  to 
get  him  to  tackle  a small  job,  making  something  worth  while  out  of  it  and 
then — smilingly  to  get  out  and  return  to  his  office.”  There  is  doubtless  much 
in  this.  Big  things  with  their  lime-light  attract  big  men.  They  chafe  un- 
der the  hundred  details  involved  in  small  work,  resent  it.  and  kick  against 
its  limitations. 

The  Wells  garden  pleases  the  critical  because  of  the  obvious  frank  ac- 
ceptance of  circumscribed  conditions.  The  view  is  all  right,  that  is  the  view 
at  a distance  and  of  the  distance,  but  the  stable,  gardener’s  cottage  and 
other  buildings  were,  to  put  it  mildly,  somewhat  ordinary,  bringing  to  the 
picture  unworthy  outlines  and  proportions.  Obviously  here  was  the  occa- 
sion for  a mask,  a foil,  and  doubtless  any  nursery  man  in  the  land  could 
have  planted  an  interesting  screen.  But  it  would  have  been  all  too  obvious. 


351 


352 


THE  NEWPORT  GARDEN  OF  MR.  W.  STORRS  WELLS 


353 


The  accompanying  views  and  plan  showing  what  has  been  done,  illustrate, 
among  other  things,  the  ambitious  scheme,  whereby  a pleasing  surprise  has 
been  prepared  for  the  guests.  The  view  at  a distance  has  been  preserved. 
The  view  close  at  hand  has  been  made  very  worth-while  and  all  in  a very 
natural  and  attractive  manner.  An  al  fresco  theater  has  been  constructed 
and  a stage  shaped  elliptically  and  terraced  some  few  feet  above  the  nat- 
ural surface  and  approached  hy  marble  steps.  This  stage-like  setting  holds 
in  the  center  a mirror  pool,  backed  by  well-trimmed,  frequently  cut  hedg- 
ing of  arbor  vitfe,  by  native  cedar  trees  and  by  other  evergreens  planted 
closely  together,  thus  bringing  into  the  scene  a sense  of  scale  and  a wel- 
come echoing  of  the  serious  proportions  of  the  house  and  paying  a gracious 
homage  to  the  Renaissance  of  France.  This  is  still  further  accented  by  the 
fore-court,  alley-way,  avenue,  for  it  invites  various  classifications  with  its 
row  of  European  linden  trees,  small  of  leaf  and  circular  headed,  restful  and 
distinctive.  These  gay  deceivers,  with  all  their  silent  sentinel-like  attitude, 
are  charged  with  a mission  of  great  delicacy.  Unconsciously  they  deceive 
by  increasing  the  apparent  lenght  of  the  garden,  viewed  from  either  end. 
The  avenue  widens  at  the  house  end  and  narrows  down  somewhat  towards 
the  stage  setting.  It  is  highly  decorative  and  stately.  The  lower  terrace 
is  also  thoughtfully  outlined  and  made  of  interest  by  a subtle  arrangement 
of  curves  and  hollows  which  sweep  gracefully  along  the  frontage  and  which 
sympathetically  repeat  the  theme  of  the  stage. 

It  is  said  that  stage-land  is  entirely  dependent  upon  illusions,  upon 
make-believe  and  that  it  is  a poetic  means  of  suggestion.  This  little  set- 
ting is  very  real  with  all  its  apparent  unreality  in  technique  and  contrast, 
its  duality  of  the  visible  and  invisible  and  the  vanishing  point  that  is  the 
beginning  of  a new  point  and  the  art  illustrating  some  subtle  contrivance  to 
conceal  art.  As  a result  there  is  about  this  pool,  this  whimsical,  ever-shift- 
ing reflection,  held  jewel-like  in  its  shapely  marble  edging,  bordered  with 
ivy,  a tireless  picture  of  great  charm.  The  images  seen  upon  its  surface  are 
often  more  alive  than  the  objects.  They  add  humor,  so  do  the  whirligig 
dragon-flies  and  the  water-scorpions  as  they  chase  the  tiny  bubbles.  The 
paraphernalia  of  painted  scenery  has  but  little  to  compare  with  this. 

Again  the  painter’s  love  of  overtones  and  glazing,  of  greens  that  are 
intense,  transparent  and  tender,  of  grays  caused  by  weather  markings  and 
metallic  deposits  is  here  very  well  shown,  as  also  is  his  love  of  white  marble, 
translucent  of  texture  and  classic  of  line.  Color  has  been  given  to  the  pic- 
ture by  the  skilful  utilization  of  the  natural  growth  of  ivy,  wherein  the 
tendrils  have  been  encouraged  to  accent  and  contrast  with  the  drawing  of 
the  vases  and  urns.  They  tie  things  together.  The  tone  of  the  begonia, 


354 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


both  pink  and  red,  the  silver-leaf  geranium  and  blue  retinospora  also  play 
an  important  part.  So  does  the  edging  of  box  and  the  wistaria  which  binds 
together  the  large  columns,  guarding  the  entrance  to  the  wood  nymphs’ 
tiny  bower.  The  harmonizing  and  humanizing  quality  of  green  of  various 
degrees  of  density  explains  itself  to  the  visitor  unconsciously  perhaps  at 
times,  but  surely,  for  we  can  never  have  too  much  green  in  our  landscape 


THE  PLAN  SHOWS  HOW  THE  WHOLE  THING  CAME  ABOUT 

The  stable,  one  of  the  reasons  for  all  this  fantastic  staging,  is  discerned  hiding  itself  in  the  left-hand 
corner  of  the  property.  To  the  casual  visitor  it  does  not  exist.  Note  the  radiating  avenue.  The  lindens 
spread  apart  at  one  end,  seeming  to  increase  the  length  of  the  garden,  a very  worthy  illusion 

and  the  contrasts  where  they  are  found  sing  melodiously.  It  is  this  mellow 
quality  which  counts  for  so  much  and  adds  so  much  to  the  picture. 

Yes!  The  stable  is  still  here,  so  is  the  gardener’s  cottage  and  the  fence 
line  and  a whole  lot  of  other  things.  But  to  the  visitor  they  are  not  only 
out  of  sight,  but  miles  away. 

And  it  is  not  simply  that  the  domestic,  or  rather  the  service  buildings, 
are  out  of  sight,  but  that  so  far  as  the  visitor  is  concerned  they  do  not 
exist.  The  view  of  the  landscape,  with  its  wonderful  distances,  its  ever- 
changing  gray  tones,  its  remarkable  variations  of  outline,  its  interest  as  a 


THE  NEWPORT  GARDEN  OF  MR.  W.  STORRS  WELLS 


355 


picture  of  the  neighborhood,  wherein  are  written  personalities  of  endless 
varieties  is  unimpaired.  Indeed,  it  is  enriched  by  contrast.  It  is,  as  it  were, 
a picture  within  a picture,  a little  narrative  in  a larger  story,  a memento 
of  the  triumphs  of  other  people  and  of  other  days,  of  other  ideals  and  of 
other  ways  of  building,  and  in  that  it  is  strangely  fascinating  and  welcome. 
It  is  an  inspiration,  a little  comedy,  ever  shifting  with  the  lights  of  a 
greater  view  to  he  enjoyed  from  the  house  porch  and  the  upper  terrace  and 
to  be  found  peeping  out  between  the  trees  of  the  avenue.  This  is  a tribute 
to  the  thoughtfulness  of  the  architect.  And  there  is  a delightful  touch  of 
humor  also  in  the  large,  classic  urn  standing  in  the  center  of  the  lower  ter- 
race more  than  half  hidden  by  its  rich  mantling  of  ivy.  It  shows  just 
enough  of  the  philosophy  implied  by  the  marble  presentation  of  the  classic 
“billy  goat,”  or,  to  spell  out  his  title  more  respectfully,  Aries,  the  Ram. 
This  first  sign  of  the  zodiac  marked  the  uprising  of  a prehistorical  reform. 
This  tireless  star  of  the  wondrous  constellations  is  a much-used  decoration. 
Can  we  not  here  give  it,  however,  a special  welcome  as  a sign  of  the  refor- 
mation of  the  method  whereby  small  spaces  are  treated?  Here  is  a garden 
sjnall  in  inches,  big  in  idea,  unassuming  in  outline,  wonderfully  devoid  of 
any  grandiose,  dominating  element,  overwhelming  in  its  significance.  Here 
is  just  the  simplest  and  most  primitive  form  of  “lay-out,”  and  yet  just  “the 
thing”  for  this  particular  occasion.  Of  course,  the  jewel,  the  flower,  the  soul 
of  the  garden  here  at  Newport,  or  for  that  matter  anywhere  else  where  fine 
people  congregate,  is  always  to  be  found  in  the  personality  of  the  people 
themselves.  “Come  into  my  garden”  means,  if  it  means  anything  at  all, 
“Enter  into  my  kingdom,  one  of  my  little  provinces  reserved  for  my  friends,” 
hence  is  it  plainer  than  my  friends  and  for  them  a background,  a casket. 
The  jewel  is  my  guest. 

The  white  of  the  marble  appears  among  the  green  also  as  a memorandum 
of  ancient  civilizations  and  prehistoric  ambitions  and  refinements.  It 
appears  in  the  columns,  reflected  in  the  mirror  pool,  in  the  low,  well-balanced 
vases,  holding  choice  evergreens  within  their  ample  boundaries.  Marble  is 
also  the  material  out  of  which  the  eupids  are  chiseled — eupids  that  change 
in  their  mood,  but  do  not  always  seem  to  spell  unselfish  love. 


PICTURE  THOUGH  THIS  BE  OF  GREAT  BEAUTY,  IT  IS  BUT  PORTION  OF  SCHEME 

We  must  study  the  composition  to  understand  and  enjoy  the  picture  to  the  full.  The  three- 
tiered  window  admitting  light  to  staircase  reminds  us  of  the  big  window  in  the  Warwickshire  chapel 


356 


THE  FIRST  IMPRESSION  IS  INVITING,  AS  FIRST  IMPRESSIONS  SHOULD  BE 

To  get  full  benefit  of  this  elevation  with  its  rich  color,  we  must  study  block  plan,  which  gives 
significance  of  the  long  grove  of  oaks,  birches,  cedars  and  chestnuts  of  which  this  is  the  natural  climax 


The  Newport  Estate  of  Mr.  Stuart  Duncan 

John  Russell  Pope,  architect 

Illustrations  from  sketch  by  architect  and  photographs  by  Gillies-Whitman 


ALTHOUGH  Bonniecrest  has  been  designed  with  much  of  the  propor- 
tion and  sturdy  material  of  the  Tudors,  deliberately  discarding  the  E 
and  H plans  characteristic  of  that  robust  period,  in  reality  it  is  schemed 
to  suit  the  Americans.  And  that  is  the  whole  story.  Schemed  to  suit  the 
Americans.  This  means  that  it  is  not  only  schemed  to  be  a part  of  the  prop- 
erty, catching  prevailing  winds  and  sunlight  and  opening  upon  some  of  the 
most  inspiring  views,  so  that  it  is  good  to  look  upon,  with  big  hearths  and 
great  bays,  speaking  eloquently  for  hospitality  and  secure  in  its  insidious 
partnership  with  the  very  rocks  upon  which  it  stands,  but  that  it  is  ad- 
mirably adapted  to  the  enjoyment  of  the  common  round  of  daily  life  in  this 
particular  neighborhood.  Though  the  stone  came  from  King-wood  quarry  in 
West  Virginia  and  many  of  the  bricks  are  old,  and  others  are  selected  from 


357 


GABLES  OF  BONNIECREST  FORM  AN  INTERESTING  PICTURE  OUT  IN  THE  BAY 

It  is  this  frontage  which  is  seen  from  out  in  the  bay  at  a distance.  Accompanying  sketch  shows  ex- 
tension of  service  wing  beyond  easterly  porch,  which  should  be  considered  with  this  detail.  A portion 
of  rugged  rock  forming  island  is  seen  above  the  ground,  allowing  pockets  for  small  junipers 


358 


THE  NEWPORT  ESTATE  OF  MR.  STUART  DUNCAN 


859 


various  kilns,  they  are  as  firmly  welded  to  that  ridge  which  rises  so  promi- 
nently above  the  hgh- water  mark  at  the  entrance  of'  Narragansett  Bay  as  is 
within  the  skill  of'  the  mason.  The  rock  finds  lodgment  for  the  wealthy,  hav- 
ing its  place  upon  the  map  as  Newport,  a place  revered  in  matters  social. 

Bonniecrest  overlooks  that  portion  of  Newport  Harbor  which  is  well 
sheltered  from  the  broad  Atlantic  by  Fort  Adams  and  other  projecting  points 
and  by  a little  rock  which  forms  Brenton  Cove.  It  is  a close  neighbor  of 
Lime  Rocks  and  not  very  far  removed  from  that  long  sliver  of  energy 
known  in  the  industrial  kingdom  as  the  United  States  Torpedo  Station, 
which  forms  a breakwater  for  a Harbor  and  which  is  spoken  of  generally  as 
Goat  Island.  Until  these  last  few  years  it  was  a part  of  the  old  Rutherford- 
Stuyvesant  estate,  which  was  for  a time  the  home  of  Mr.  Arthur  Kemp 
and  Mr.  Henry  White,  who  afterwards  became  ambassador  to  France. 

As  we  are  all  so  much  interested  in  men  and  women,  in  what  they  do 
elsewhere,  in  the  old  country,  and  in  the  type  of  houses  they  build,  it  is  well 
to  note  that  Bonniecrest  recalls,  in  many  of  its  details  and  general  manipu- 
lation, the  outline  and  structure  of  Compton  Winvates,  the  Warwickshire 
manor  of  Sir  William  Compton,  the 
well-known  favorite  of  Henry  VIII 
and  one  of  the  distinguished  and  dis- 
criminating courtiers  of  that  critical 
time.  The  architect  of  the  Newport 
house  has  insidiously  arranged  his 
frontages  so  as  to  incorporate  with  no 
little  ability  certain  salient  points  of 
the  English  prototype.  Still  it  avoids 
the  quadrangular  arrangement  of 
rooms,  which  is  ill-fitted  to  our  time 
and  country. 

The  accompanying  views  show 
Bonniecrest  as  it  is,  and  even  now  it 
looks  like  a venerable  manor,  bearing 
no  very  distant  relation  to  Haddon 
Hall,  the  most  popular  and  best  known 
of  the  major  manors  of  England. 

In  plan  this  Newport  manor  is  ir- 
regular; it  does  not  follow  the  quad- 
rangular scheme  of  the  Tudors  and 
strenuous  days  of  the  Royalists  and 
Cromwellians.  Nor  is  it  strictly  sym- 


THE  SKY  LINE  OF  SERVICE  WING 

This  sketch  leaves  little  to  be  desired.  Look 
at  the  slating  of  the  dormers,  resembling  old 
work,  at  the  hemlocks  and  junipers,  and  the 
way  in  which  the  sun  gilds  the  chimneys 


A STUDY  IN  VALUES  STRUCTURAL  AND  DECORATIVE  IN  THIS  PICTURE 

This  and  accompanying  sketch  on  adjoining  page  show  an  attractive  corner  of  building.  The 
relation  between  big-leafed  foliage  of  chestnut  tree  and  brick,  wood  and  stone  work  is  very  inter- 
esting. Some  chimneys  have  strong  individualities  with  a tendency  towards  corkscrew  propensities 


3C0 


THE  NEWPORT  ESTATE  OE  MR.  STUART  DUNCAN 


361 


metrical  in  any  other  way.  It  is  romantic ; that  is,  Gothic  in  spirit,  Gothic 
in  make-up,  attenuated,  modified,  transformed.  Long  and  low  in  its 
general  outline,  rambling  in  its  arrangement  of  rooms,  liberal  in  its  glad 
acceptance  of  sunshine,  and  liberal  also  in  its  contrivance  for  the  enjoyment 
of  beautiful  views — qualities  which  do  much  to  spell  picturesqueness — it  is 
practically  unique  as  an  American  solution  of  the  country  house  problem, 
and  likely  to  he  followed  far  and  wide.  This  evidence  of  the  conscientious 
adaptation  of  an  old  form  of  building  to  American  needs  is  of  great  service. 
Indeed,  it  should  he  as  heartily  welcome  as  is  an  improved  outlook  into 
other  affairs  aesthetic.  We  crowd  the  Opera  House  for  some  new  singer  or 
harmony.  We  talk  wildly  about  “best  sellers.”  We  clamor  for  the  most 
comfortable  cabins  to  cross  the  Atlantic — at  least,  we  did  before  the  days  of 
the  wicked  submarines.  But  where  is  the  thankful  spirit  for  the  architect  who 
not  only  builds — yea,  verily,  builds — so  that  his  work  is  not  only  a testi- 
mony to  his  conscientious  study  and  a source  of  congratulation  to  his  asso- 
ciates, but  is  a daily  comfort  to  his  client?  Bonniecrest  is  interesting  as  an 
object  lesson  to  show  what  can  he  done,  and  in  an  insidious  and  graphic 
manner  it  reveals  not  alone  the  attrac- 
tions of  the  old  proportions  in  the  old 
country,  hut  it  pricks  a bubble  or  two 
blown  by  those  who  maintain  that  a 
thing  must  he  old  in  order  to  be  worthy 
and  that  many  of  the  secrets  of  build- 
ing are  lost  arts  in  the  mirage  of  the 
distance.  No,  it  is  not  a question  of 
many-mullioned  windows,  overhang- 
ing gables,  chimneys  of  octagonal 
form,  fluted  outline  and  corkscrew 
propensity,  of  battlemented  parapet 
and  liberal  bays;  nor  is  it  a question  of 
diversity  of  texture,  although  so  much 
attention  has  been  given  to  a diligent 
search  for  old  brick,  and  the  laying 
of  which  in  octagonal  pattern  upon  the 
face  of  the  gables  is  so  delightful  and 
helpful.  The  question,  Why  Bonnie- 
crest? may  he  answered  in  a word,  and 
that  is,  the  main  spirit  has  been  kept 
obviously  in  view  and  religiously  fol- 
lowed. The  ground  round  the  house 


ANOTHER  VIEW  OF  SERVICE  TOWER 

Here  is  the  Frenchman’s  philosophy  again, 
darkness  and  light,  fascinating,  immeasurable, 
defying,  the  motto  that  should  be  displayed  in 
the  office  of  every  architect  in  the  land 


PLAN  OF  LAYOUT  WITH  OUTLINE  OF  FRONTAGE  ON  NEWPORT  HARBOR 

Sketch  gives  shape  of  some  rocks,  position  of  house  with  driveway,  service  entrance,  and  main 
grove,  which  is  remarkable  for  unusually  attractive  outline.  Entrance  is  on  Harrison  Avenue 


362 


THE  NEWPORT  ESTATE  OE  MR.  STUART  DUNCAN 


363 


is  interspersed  in  places  with  rocks,  which  for  a time  were  well-nigh  cov- 
ered with  sand.  Still  as  rocks,  a portion  of  the  island  reef,  evidently  play 
a prominent  part  in  the  setting,  they  have  been  exposed  and  encircled  by  an 
adroit  addition  of  trailing  junipers  and  other  dwarf  evergreens.  The  shadows 
of  big  trees  cross  the  broad,  expansive,  meadow-like  lawn,  where  the  sense  of 
space  speaks  more  eloquently  than  anything  that  could  be  done  by  means 
of  masonry  or  flower  beds  of  any  kind.  Some  fine  trees  and  shrubs  have  been 
removed  and  replanted  so  that  they  have  a decorative  value.  The  easterly 
boundary  line  has  fortunately  a thick  grove  of  trees  which  has  been  repaired 
in  places.  The  westerly  side  of  the  property  has  also  a majestic  grove. 
The  ground  slopes  rap- 
idly to  the  boundary  and 
is  made  interesting  by  a 
long  narrow  lane,  an  an- 
cient right  of  way,  lead- 
ing to  landing  stage. 

T h e accompanying 
plan  shows  the  general 
layout,  the  high-water 
mark  of  Newport  Har- 
bor, a subdivision  of 
Narragansett  Bay,  the 
rugged  shape  of  some  of 
the  rocks,  plan  of  house 
with  driveway  and  serv- 
ice entrance,  and  main 
grove,  which  is  remark- 
able for  its  unusually  at- 
tractive outline;  but  it 
does  not  give  the  subsid- 
iary planting  which  has 
been  added  just  lately 
and  which  runs  along  the 
high  boundary  wall  on 
Harrison  Avenue,  giv- 
ing that  privacy  which 
is  so  valued  in  a prop- 
erty of  this  character.  the  sturdy  north  porch  is  prominent 

The  planting  is  of  rho- 
dodendrons a n d other 


It  stands  upon  a flagged  walk  connecting  the  eastern  and 
western  porches.  Creepers  are  being  planted  to  take  place  of 
those  killed  last  winter;  grass  border  has  pockets  for  the  purpose 


364 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


flowering  shrubs.  Still,  the  accompanying  views  tell  the  story  of  the  setting 
in  their  own  manner,  direct  and  accurate. 

Looking  at  the  views  before  us  which  illustrate  this  unusually  attractive 
country  house,  and  the  flue  drawings  and  photographs  of  the  Warwickshire 
manor,  it  is  well  to  see  how  the  Newport  building  has  been  enriched  and 
how  conscientiously  and  tirelessly  the  architect  has  worked.  Adaptation  is 
not  only  a fascinating  but  a difficult  art.  This  has  been  a matter  of  design 
from  start  to  finish.  True,  in  some  subtle  manner  the  spirit  of  many  of  the 
features  is  recognizable,  and  not  only  to  the  student  of  architecture  but 
to  others — when  pointed  out!  Few  have  wit  enough  to  follow  even  the  lead, 
so  subtle  has  been  the  assimilation,  the  absorption,  the  transmogrification,  as 


THE  MAIN  ENTRANCE  GATEWAY 

Following  character  of  house,  here  is  a Tudor 
archway  heavily  buttressed  and  of  goodly  size.  Over- 
head appears  again  the  galley,  a distinguished  heraldic 
element  of  the  family,  supported  by  the  Tudor  rose 


you  will.  It  is  an  intellectual 
treat,  an  intellectual  shampoo 
perhaps,  testing  audience  as  well 
as  professor.  We  note  the  many- 
mullioned  staircase  window  has 
the  proportion  of  the  great  win- 
dow of  the  old  Chapel,  which  is 
close  to  the  apartment  formerly 
occupied  by  Bluff  King  Hal — 
would  that  he  had  visited  this 
place  more  often!  Take  it  as  you 
will,  a man  and  a building  gather 
force  by  virtue  of  association.  As 
the  guest  enters  Bonniecrest  he 
passes  under  the  archway  of 
porch,  not  illuminated  by  Henry’s 
arms,  as  at  Compton  Winyates, 
hut  by  a device  of  a ship  for  years 
associated  with  the  Duncan  fam- 
ily. Following  a manner  preva- 
lent in  old  monastic  days,  small 
doors  removed  from  public  gaze 
lead  directly  from  the  principal 
rooms  to  the  outside.  Thus  the 
living-room  and  dining-room,  hall 
and  library  have  their  own  direct 
connections  with  the  greater 
world.  They  are  framed  with 
sturdy  oak,  inviting  independence 


THE  NEWPORT  ESTATE  OF  MR.  STUART  DUNCAN 


365 


of  movement  and  preventing  sudden  intrusion. 
The  big  windows,  one  of  the  characteristic  elements 
of  the  Tudors,  show  the  potency  of  that  skilful 
French  writer  who,  momentarily  oblivious  to  the 
charm  of  the  middle  tone,  spoke  so  eloquently  of 
architecture  as  a struggle  between  daylight  and 
dark.  True,  the  broad  baj^s,  as  you  enter  the  great 
hall  or  living-room,  seem  to  own  you  body  and  soul, 
as  they  give  so  vivid  a picture  of  the  Harbor  with 
its  many-colored  sails,  its  bright  light  upon  Fort 
Adams,  its  mystery  and  magic  surrounding  the 
Torpedo  Station,  that  we  scarcely  notice  the  tapes- 
try scenes  of  country  life  in  France  and  days  of 
the  vintage  and  hunt  which  are  entrusted  with  the 
responsibility  of  decorating  the  walls  and  which 
cover  so  large  a portion  of  the  wainscoting.  They 
merit  close  attention  because  of  their  quaint  drawing,  involving  interesting 
labels  with  strange  devices  and  legends. 

What  great  facilities  there  are  here  for  yachting,  for  the  thousand  and 
one  opportunities  for  water  fetes  where  the  inclement  weather  sometimes 
plays  havoc  with  ordinary  arrangements,  such  as  floats  merely  anchored  to 
the  rock!  The  great  depth  of  water  a few  feet  from  the  shore  would  lessen 
greatly  the  trip  by  the  dingey  and  permit  an  anchorage  well  in  line  with  the 
usual  terrace,  which,  by  the  way,  is  not  needed  nor  perhaps  altogether  to 
be  desired  in  this  picturesque  frontage.  Still, 
as  the  house  stands  so  nobly  above  the  hank,  mak- 
ing so  prominent  a sky  line  when  viewed  in  the 
o fling,  we  would  not  be  surprised  to  see  in  good 
time  some  architectural  use  made  of  the  little  bay. 

What  a chance  for  a horseshoe  stairway  cut 
through  the  rock  in  rustic  fashion  with  an  occa- 
sional broad  landing,  leading  to  the  tideway  and 
having  just  sufficient  importance  to  make  a dis- 
tinguishing note,  echoing  serious  elements  of  house. 

Bonniecrest  serves  to  enhance  that  special 
quality  of  distinctive  aristocratic  reserve  and  re- 
straint from  visible  effort  which  slowly  hut  surely 
dominates  the  whole  work  of  the  architect  and  that  the  service  gateway 
remains  the  last  impression  which  the  memory  of  a high  wall  giving  privacy 

. • . . , 1 1 • • i ' to  lawn  forms  southern  bound- 

1ns  design  leaves  upon  the  Visitor.  ary  upon  Harrison  Avenue 


THE  NORTHERN  PORCH 

T his  interesting  peep 
through  archway  reveals  mov- 
ing tide  of  Brenton  Cove 


366 


Group  of  Ten  Suggestive  Treatments  of  the  Setting 

The  underlying  spirit  which  is  adaptable  to  small 
as  well  as  large  properties 

BEYOND  doubt  the  most  satisfactory  way  to  study  the  setting  is  to 
familiarize  ourselves  with  the  best  work  that  has  been  done  in  our  own 
immediate  neighborhood,  comparing  it  with  examples  of  work  else- 
where, abroad — that  is,  in  countries  the  daily  life  of  which  is  parallel  to  our 
own  life  and  where  there  is  not  much  difference  in  climate.  It  were  doubt- 
less wise  to  read  up  on  the  subject.  This  is  no  difficult  matter  in  the  days  of 
active  writers,  some  of  whom  are  familiar  with  the  subject!  Information 
of  great  value  can  also  be  obtained  by  reference  to  certain  energetic  maga- 
zines which  illustrate  frankly  and  freely  the  admirable  places  built  and 
planted  in  various  prominent  and  out-of-the-way  places  in  this  great  Amer- 
ica of  ours.  In  that  regard  it  is  well  to  remember  the  remarkable  di- 
versity of  our  foliage,  the  rare  richness  of  our  trees,  which  is  a heritage  the 
envy  of  the  world.  We  would  scarcely  think  so  when  we  remember  that  to 


A hearty  response  to  the  modern  spirit,  making  beauty  the  incentive  of  architectural  composition, 
is  particularly  fortunate  here,  where  the  landscape  is  fittingly  decorative,  quickening  our  imagination 


THE  DINING-ROOM  IN  THE  HOME  OF  MR.  A.  M.  BROWN,  ST.  .TAMES,  L.  I. 


367 


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372 


GROUP  OF  TEN  SUGGESTIVE  TREATMENTS  OF  THE  SETTING  373 


many  our  trees  are  simply  dollars  and  cents,  so  many  cubic  feet  or  % boards 
for  an  ever-exacting  market.  To  tbe  artists  they  are  creatures  of  life,  of 
infinite  beauty  and  charm,  of  wondrous  color,  while  to  the  architect  and  the 
owner  of  property  they  are  indeed  angels  of  light  and  brightness,  elements 
of  infinite  possibilities,  highly  decorative,  with  which  much  can  indeed  be 
done.  Says  a French  painter  whose  name  is  a household  word:  “Oh.  that 
your  forests  were  proof  against  the  inroads  of  fire,  they  are  so  beautiful. 
Their  life,  alas,  so  short!” 

Ours  is  the  natural  home  of  the  birch,  both  black  and  yellow;  of  the 
chestnut  and  of  the  oak.  Occasionally  an  evergreen  pine  or  hemlock  darkens 
or  a dogwood  brightens  things.  We  have  also  maple  and  silver  beech.  When 
the  old  chestnuts  get  disturbed — blown  over  and  uprooted,  or  die  out — we 
plant  others  of  the  same  kind,  and  so  restore  the  woods.  What  I mean  is — 
that  I do  not  want  “specimen  trees.”  I much  prefer  trees  of  the  neighbor- 
hood. They  belong  here.  It  is  their  place.  They  are  part  of  our  Amer- 
ican life,  expressing  naturally  our  homes.  As  a practical  illustration  of 
what  has  been  accomplished  in  this  section  during  the  last  two  or  three  years, 
it  were  wise  to  examine  closely  and  carefully  some  of  tbe  accompanying 
schemes,  approaching  the  subject  from  a purely  academic  and  impersonal 
standpoint,  regardless  of  cost,  realizing  that  tbe  underlying  principle  is  the 
same.  I say  regardless  of  cost,  and  I venture  also  to  say  regardless 
of  ownership.  By  that  I mean,  we  have  one  ingenious  architect  who  by  the 
placement  of  his  house  added  the  name  of  his  client  to  a limited  list  far 
above  that  of  multi-millionaires  by  so  skilfully  locating  his  house  upon  the 
borders  of  a great  lake  that  the  lake  became  bis  lake,  and  everything  within 
and  upon  its  glo- 
rious surface,  its 
reflections,  color, 
movement,  which  no 
one  could  take 

away,  but  which  is 
his  forever.  An- 

other builds  his 
house  upon  a hill, 
so  placing  it  that  it 
marries  with  the 
native  woods  and 
meadows,  and  all  in 
sight  is  his  land- 
scape, his  great  pic- 


HOME  OF  MR.  L.  T.  BEALE,  ST.  DAVID'S,  PA. 

Simple  as  it  is,  two  gables,  a long  ridge  and  a porch,  witli  a heavy 
mantling  of  snow,  it  was  a picture  last  winter  when  the  sun  shone  upon  it 


374 


THE  INTERESTING  HOME  OF  MR.  CHARLES  S.  SCHNEIDER,  CLEVELAND,  OHIO 

Here  is  a clever  little  design.  I say  clever  advisedly  because  it  shows  a skilful  treatment  of  a common  everyday  problem  which  con- 
fronts every  practitioner  in  the  land:  how  to  make  a small  house  attractive  without  a big  grove  of  trees  or  dramatic  setting.  It  is  a good- 
looking  house  made  more  interesting  by  addition  of  sleeping  porch  over  loggia.  The  introduction  of  the  wood  framing  is  happy,  giving  effect 
of  lightening  composition.  The  entrance  porch  is  excellent.  Rambler  roses  challenge  the  outline,  adding  their  perfume  and  color 


GROUP  OF  TEN  SUGGESTIVE  TREATMENTS  OF  THE  SETTING  375 


lure  for  years.  Yet  another  builds  between  two  majestic  oaks  or  locusts  and 
then  by  cunningly  devising  a terrace  builds  in  their  shade  and  adds  a tree  here 
and  there  to  emphasize  the  accent.  Another  adds  interest  to  the  whole  neigh- 
borhood in  some  subtle  way  by  building  in  an  old  orchard,  gnarled  and 
aged,  and  then  when  the  day  shortens  and  the  darkness  comes,  he  reaches 
over  and,  as  it  were,  with  a magic  hand  lifts  out  a few  of  the  old  apple  trees 
and  fills  in  the  pool  to  mirror  the  sky  and  lighten  the  scene.  I know  of  a man 
who  took  a hillside  barren  of  trees  yet  blessed  with  underbrush,  with  juni- 
pers which  had  weathered  many  a storm.  This  man’s  house  began,  if  you 
please,  by  the  building  of  a ten-foot  wall  to  shelter  those  junipers,  which  to- 
day are  his  guests,  repaying  a hundredfold.  Later  he  built  a house,  and  peo- 
ple crowd  to  see  his  sunken  court,  his  venerable,  old,  storm-tossed  trees, 
quaint  of  line,  wondrous  in  color.  At  their  feet  rushes  a mountain  rivulet, 
which  performs  all  sorts  of  antics,  and  as  it  reaches  the  valley  it  feeds  foun- 
tains whose  rainbow  hues  glisten  splendidly  against  the  gorgeous  green  of  the 
hemlocks  and  cedars. 

Some  of  our  people,  who  happen  to  be  painters,  and  other  discriminat- 
ing lovers  of  country  life,  have  made  great  success  by  the  introduction  to  their 
gardens  of  flower  borders,  the  borders  being  of  plain  everyday  plants,  fa- 
mous for  their  endurance  as  well  as  their  decorative  value,  their  color  and  the 
ease  with  which  they  can  be  cultivated.  Before  me  is  a wonderful  border 
of  Michaelmas  daisies,  another  of  daffodils,  flag  iris  and  peonies,  backed  by 
junipers.  Common  yellow  lilies  mark  the  roadway  to  the  home  of  one  of 
the  most  entertaining  personalities  on  this  continent,  who  could  have  had  any 
flower  that  money  could  buy.  Another  indulges  in  the  garland  rose;  a 
third  in  ivy  backed  with  white  foxglove  brought  into  contrast  with  the  fir 
wood  of  the  mid-distance. 

We  are  indebted  to  Peabody,  Wilson  & Brown,  architects,  for  the  views 
on  pages  367  and  368;  to  Abram 
Garfield  for  house  depicted  on  page 
369;  to  Carrere  & Hastings  for  the 
design  on  370;  to  Elmer  Gray  and 
Myron  Hunt  for  the  interesting 
view  on  page  371;  to  Albro  & 

Lindeberg  for  the  one  on  page  372 ; 
to  Mellor  & Meigs  for  the  house  on 
page  373;  to  Charles  S.  Schneider 
for  the  view  on  page  374,  and  to 
Mor  ris  & Erskine  for  the  small 
house  shown  on  page  375. 


CHARACTER  KNOWS  NO  MEASUREMENT 

Houses  of  fewer  inches  than  this  at  Haddon- 
field,  N.  J.,  have  sheltered  some  noble  thinkers 


EVEN  A THIN  SPRAY  OF  WATER  BRINGS  TO  THE  SCENE  A SPIRIT  OF  LIFE 
It  is  not  only  beautiful  by  virtue  of  its  own  subtle  movement  but  for  the  interest  it  adds.  (See  page  401) 


376 


CHAPTER  II 


WATER  AS  A DECORATIVE  AGENT 

Cascades  in  the  rock  garden  of  Mr.  John  D.  Rockefeller  on  Pocantico  Hills , 
N.  Y. — The  fountain  scheme  on  the  estate  of  Mr.  Louis  C.  Tiffany,  Cold  Spring 
Harbor,  L.  I. — The  Spaulding  estate  at  Prides  Crossing,  Mass. — A group  of  six  illus- 
trations of  water  as  element  of  beauty,  vitalizing  decorative  schemes  of  great  interest. 

THE  soul  of  an  Oriental  garden  is  a fountain. 
The  garden  may  be  but  a yard  with  a decrepid 
old  stump  of  a tree  and  a rose  bush  or  two; 
the  fountain  may  be  a mere  pool,  a few  inches  deep, 
a few  feet  across,  a bowl  hidden  in  the  ground.  Still, 
to  the  dreamer,  to  the  idealist,  it  is  a priceless  treas- 
ure of  which  he  never  wearies,  toward  which  he  in- 
stinctively looks  as  he  enters,  and  around  which  he 
plants  the  best  flowers  obtainable.  It  might  be  as 
much  the  center  of  things  in  his  whole  life  as  any 
member  of  his  family.  It  is  more  than  a decoration. 
It  is  a comrade,  a friend,  the  soul  of  the  place!  If 
that  be  so,  what  shall  be  said  of  water  in  motion, 
when  the  sunbeams  strike  it  and  pressure  Alls  it  with  tiny  bubbles,  and  the 
sound  of  it  is  music?  It  is  as  important  to  the  life  of  the  family  as  camp 
fire  to  the  traveller  who  watches  the  thin  smoke  and  partly  consumed  gases 
rise  skyward.  In  the  mystic  pool  does  he  see  the  reflections  dodging  the 
shadows  and  the  fireflies  that  touch  the  surface  so  gently  as  to  make  the 
most  handsome  woman  grotesque.  The  reverence  of  water  extends  in  our 
own  land  to  the  plains  of  Arizona  and  California,  where  the  water  hole,  as 
it  is  irreverently  called,  is  indeed  a godsend  to  cattle,  and  toward  it  the  trav- 
eller trudges  perseveringly.  Water  flows  through  the  literature  of  the  Bible. 
The  traditional  church  fountain  is  preserved  at  St.  Peter’s,  where  a gilded 
bronze  pine  cone  through  which  multitudinous  threads  of  water  rapidly  pass, 
resembling  rain,  is  used.  It  is  said  to  have  been  a suggestion  from  Solomon’s 
Temple.  It  was  so  accepted  by  Raphael,  who  embodied  it  in  his  famous  car- 
toons of  the  Beautiful  City. 


377 


878 


JUST  BELOW  THE  SECOND  CASCADE  THE  QUAINT  GABLE  OF  THE  JAPANESE  TEA-HOUSE  IS  SEEN 

The  gorgeously  colored  sugar  maple,  larch  and  pine  screen  the  little  building.  The  first  fall  is  quite  hidden  behind  the  pink-edged 
spiraea.  This  garden  of  enchantment,  designed  and  planted  two  years  ago,  embodies  the  idea  favoring  somewhat  the  fashion  of  the  Orient 


THE  THIRD  CASCADE  IS  FULL  OF  COLOR  ALL  THE  YEAR  ROUND 

Spreading  close  to  the  ground  at  the  head  of  the  fall,  planted  with  infinite  care,  is 
the  dark-green  foliage  of  the  trailing  juniper  and  the  golden  yellow  of  the  Japanese  quince 


Cascades  in  the  Rock  Garden 

of 

Mr.  John  D.  Rockefeller’s  Estate,  Pocantico  Hills,  N.  Y. 

William  W.  Bosworth,  architect 

Illustrations  from  photographs  by  the  architect 

IN  the  Pocantico  Hills  estate  of  Mr.  John  D.  Rockefeller  there  is  a wan- 
dering brook,  which,  while  constructed  to  take  care  of  the  overflow  from 
the  fountains,  is  also  fed  by  underground  springs  and  by  certain  natural 
pockets  in  the  neighborhood.  This  fascinating  ribbon  of  silver  is  very  active, 
running  through  a deep  channel  of  the  lawn,  spreading  itself  out  in  places, 
leaping  from  rock  to  rock,  splashing  the  evergreens  that  are  planted  where 
much  of  their  rich  foliage  will  he  seen  in  contrast  to  the  brilliant  glisten 
of  the  water,  and  then  bobbing  up  oblivious  to  all  forms  of  regularity,  fol- 
lowing its  own  sweet  will  until  it  disappears  underground  or  collects  itself 
in  a little  whirligig  pool  to  rest  a while. 


379 


UNDER  THE  GREAT  ELM  THE  BROOK  TUMBLES  DOWN  THE  FIFTH  CASCADE 
The  right  bank  furnishes  lodgment  for  junipers;  left  hank  is  made  interesting  by  big  barberry  bushes 


380 


MR.  JOHN  D.  ROCKEFELLER’S  ESTATE,  POCANTICO  HILLS,  N.  Y.  381 


The  accompanying  illustrations  are  a graceful  tribute  to  a scheme  pro- 
viding for  a brook  which  is  increased  in  volume  in  the  early  spring  and  dur- 
ing heavy  rainstorms.  Here  it  has  been  directed,  induced  to  take  up  cer- 
tain delightful  outlines  which  are  no  little  tax  upon  the  imagination  of  the 
reader.  This  section  of  the  brook  is  nearly  a mile  in  length,  and  yet  it  varies 
every  foot  of  the  way.  Artificial?  Yes.  Artificial  as  the  painting  of  a por- 
trait, yet  faithful  as  the  reflection  of  a mirror  held  before  milady’s  face, 
and  capricious  as  the  whisper  from  a land  of  dreams.  Artificial?  Yes.  De- 
lightfully so.  Still  only  in  a sense  that  recalls  instinctively  natural  views 
elsewhere.  Much  of  this  is  from  the  Orient,  from  the  colder  regions  where 
rocks  and  ice  abound,  and  from  the  quaint  memory  of  No  Man’s  Land  peo- 
pled by  Jack  o’  Dreams  and  hobgoblins.  And  all  within  fifty  minutes’  run 
of  the  wind-lashed  office  building  known  as  the  Flatiron  and  the  turmoil  of 
the  Great  White  Way. 

This  engaging  picture  is  a beautiful  piece  of  stage  setting,  a copart- 
nership of  rocks  and  glistening  silica,  of  shelving  rock  from  the  quarry  and 
small  pebbles,  of  boulders  smoothed  by  the  glacial  period,  yet  to-day  colored 
with  lichen  and  moss.  Their  polished  surface  shows  the  unmistakable  pres- 
ence of  metal,  translucent  and  crystalline.  Many  of  them  are  out  of  their 
natural  bed,  standing  erect  as  if  disturbed  by  volcanic  action.  Others  have 
been  laid  sympathetically  on  one  side.  This  shelving  of  the  rock  is  all  part 
of  the  capricious  design,  a little  engaging  masonry  whereby  the  water  is  in- 
duced to  wind  and  twist  in  its  effort  to  reach  tiie  bottom  of  the  pool. 
Held  prisoner  in  some  pocket  it  seems  to  gather  itself  together  for  a spring 
and  then  laughingly  proceeds  to  the  nsxt  break.  The  bed  or  pavement  of 
the  brook  is  very  cleverly  contrived.  In  many  ways  the  wandering  of  the 
brook  is  a delightful  contrast  to  the  stately  terraces  where  straight  lines  and 
architectural  proportions  abound,  where  vistas  have  been  cut  deeply  into 
the  woods,  and  where  everything  is  very  grand  and  serious  in  idea.  This 
brook,  with  its  abandon  and  whimsicality,  is  an  agreeable  change  from  the 
severe  order  of  things.  Here  is  a pleasing  color  scheme  that  is  also  way- 
ward and  which  varies  with  the  changing  seasons  of  the  year.  Like  the 
brook,  it  is  a creature  of  life,  clinging  close  to  the  ground  and  depending 
not  a little  on  the  outline  of  Mother  Earth.  Dwarf  shrubs  have  been  planted 
to  intensify  by  contrast  the  transparency  and  brightness  of  the  water. 


382 


A HUGE  CREATURE,  THE  LEGENDARY  DRAGON,  HAS  THE  POSITION  OF  HONOR  IN  THE  HANGING  GARDEN 

Following  the  path  of  the  water,  the  stream  now  reaches  the  central  pool  with  its  interesting  rockwork,  a cave  of  spar  crystal.  Here  lives 
tlie  green-scaled  monster  with  his  fantastic  armor  of  mosaic  and  enamel,  a thick  medieval  encasement  of  rare  color  and  wondrous  drawing 


THE  FIRST  VIEW  OF  THE  HOUSE  FROM  THE  ROADWAY 

The  visitor  is  immediately  arrested  by  the  color  scheme,  the  emerald  of  the  dome  roof  to  the 
central  court,  the  canopy  of  the  tower,  the  dazzling  white  of  the  building,  the  bits  of  bright  color  to 
the  coronet,  and  the  thin  haze  of  the  distant  hills  marking-  the  main  entrance  to  the  Sound 

S he  Picturesque  Fountain  Scheme  in  the  Long  Island 
Home  of  Mr.  Louis  C.  Tiffany 

Designed  by  the  painter 

Illustrations  from  original  drawings  made  from  photographs  by  Aime  Dupont  and  others 

YES — it  is  fine,  and,  as  you  say,  dramatic;  but  the  other  view  is  the  best,” 
said  the  artist,  glancing  a little  to  the  right  and  then  walking  rapidly 
down  the  steps  from  the  upper  terrace,  dodging  round  the  bushes  as  he 
took  a short  cut  to  the  roadway  beyond.  And  proceeding  to  select  a spot 
which  invited  a view  of  the  lake  and  of  the  house  through  the  cedars,  he  com- 
menced to  make  a rough  sketch  of  the  hillside  problem  that  had  been  in 


383 


THIS  SKETCH  GIVES  A GENERAL  IDEA  OF  A PART  OF 

For  detail  of  house,  refer  to  accompanying  sketches.  G denotes  service 
sunken  garden;  K and  L palm  houses;  Q shows  beginning  and  lily  pond  end 


THE  PROPERTY 

wing;  H conservatory;  I 
of  artificial  water  scheme 


384 


FOUNTAIN  SCHEME  IN  MR.  TIFFANY’S  GARDEN 


385 


his  thoughts  for  many  and  many  a day,  giving  the  layout  of  everything  as 
he  saw  it  and  as  he  knew  it  to  be — a child  of  his  own  fancy. 

I had  followed  somewhat  reluctantly,  looking  back  and  wondering  what 
possible  view  could  surpass  the  other,  with  its  quaint  outline  of  house  and 
tower,  with  its  windows  and  balconies  accented  by  the  dark  velvety  shadows  of 
the  arched  entrance,  the  bright  emerald  of  the  roof,  and  the  sparkle  of  the 
fountains,  all  shimmering  in  the  sunlight,  framed  with  native  woods  and 
bushes  in  the  background — when  I was  aroused  from  my  momentary  hyp- 
notism by  the  artist  holding  up  his  sketch  pad  and  saying  very  quietly  and 
with  no  little  feeling  and  affection  in  his  voice:  “This  is  the  view  I prefer. 
It  is  subtle,  and  there  is  something  of  Italy  in  it  all.”  A few  rapid  strokes  of 
the  pencil  had  told  the  story  of  the  house  and  grounds,  trees  and  cedars,  road- 
ways and  terraces,  as  well  as  of  the  shadows.  “See,  the  trees  must  be  grouped 
together  a little — so — to  let  a little  more  of  the  lake  come  into  the  view.  We 
need  that  reflected  light  and  movement,  and,  as  you  see,  I have  just  indicated 
enough  of  the  body  of  the  house  to  complete  the  composition.  The  picture 
should  stop  there — just  beyond  the  tower.” 

The  speaker  was  Louis  C.  Tiffany,  of  New  York  City,  famed  as  an 
artist  in  silver,  in  jewels,  in  painting,  and  in  Favrile  glass,  which  is  his  own 
creation.  Mr.  Tiffany  added  to  his  property  at  Cold  Spring  Harbor,  on  the 
northern  side  of  Long  Island,  by  the  purchase,  about  three  years  ago,  of  still 
another  strip  of  native  woods  on  the  hillside  running  down  to  the  shore,  mak- 
ing in  all  some  five  hundred  acres.  By  removing  the  summer  hotel  with 
its  outbuildings  at  that  point,  he  cleared  the  way  for  this  desire  of  his  heart 
on  which  he  centered  so  many  hopes  and  dreams. 

To  me  the  house,  half  hidden  in  the  native  woods  of  Cold  Spring  Har- 
bor, is  notable  for  many  things,  and  they  can  be  briefly  expressed  in  three 
words.  They  are  modernity,  utility,  beauty. 

The  planning  is  frank  and  straightforward,  the  natural  result  of  a clear- 
sighted understanding  of  things.  And  there  is  romance  and  imagination  in 
it  all.  The  perfume  of  the  Orient  and  the  horse  sense  of  America,  with 
its  revitalizing  influence,  are  seen  everywhere.  By  no  means  is  it  a rich 
man’s  house  as  we  understand  it  to-day,  because  the  dollar  does  not  appear. 
And  as  to  beauty,  the  central  court  is  a gem,  possibly  one  of  the  most  beau- 
tiful pictures  of  the  land.  The  rest  of  the  house  is  plain.  The  strength  and 
majesty  of  man  prompted  the  outside,  the  delicacy  and  innate  charm  of 
woman  characterizes  the  inside,  and  the  garden  has  a charm  all  its  own. 

Refusing  to  yield  to  the  imprisonment  of  historic  styles,  because  of  the 
many  phases  so  false  to  the  ideals  of  our  civilization  and  to  his  own  under- 


386 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


standing  of  true  beauty,  the  painter  determined  to  work  alone  and  fight  out 
the  problem  in  his  own  way.  With  a devouring  love  for  activity,  he  devoted 
himself  to  the  labor  of  moulding  the  hillside,  to  shaping  the  woods  and  to  the 
making  of  models.  This  struggling  with  the  soil  taught  him  many  things ; 
and  the  planning,  scheming, 
contriving  and  attaching  led  to 
his  use  of  local  material  to  ex- 
press his  thoughts  in  many 
quaint  and  original  methods ; 
and  in  this  long  fight  for  beauty 
he  has  won.  The  ground  yield- 
ed him  sand  and  gravel.  Every 
tree  that  had  to  be  cut  down 
lived  again  in  some  part  of  the 
theme.  The  study  of  the  ground 
also  led  to  the  inception  of  the 
water-courses  and  fountains 
which  are  romantic  and  ap- 
pealing. 

For  a long  time  the  problem 
resided  in  models  of  clay  and 
portfolios  of  strange  and  inter- 
esting sketches,  added  to  and 
worked  over  as  the  spirit  moved. 

They  illustrated  the  position  of 
the  trees,  the  undulating  nature 
of  the  ground,  the  actual  levels, 
the  outline  of  the  small  ponds, 
and  the  general  character  of 


everything.  The  most  import- 
tant  points  were  of  course  set- 
tled on  the  spot,  of  which  the 
drawing  office  knew  so  little 


SKETCH  SHOWING  THE  PRINCIPAL  ROOMS 

A marks  court;  B dining-room;  C living-room;  D 
library;  E smoke  room;  M hanging  garden;  N cataract 
entrance;  W central  pool  and  Y bowl  on  lower  terrace 


that  measurements  had  often  to  he  taken  to  render  possible  the  completion  of 
that  section  of  the  scheme.  The  place  literally  grew  from  the  ground  up, 
not  from  the  drawing  office  down.  The  painter  took  infinite  pains.  He  is 
very  successful.  Every  element  going  to  make  up  the  house,  the  terraces, 
and  hanging  garden  entailed  by  its  deft  investment  into  the  side  of  the  hill 
— into  the  very  heart  of  the  native  woods — was  prompted  by  his  thoughtful 
study  of  the  “something  of  Italy  and  the  spirit  of  the  Orient,  as  he  said. 


FOUNTAIN  SCHEME  IN  MR.  TIFFANY’S  GARDEN 


88? 


The  artist  of  all  this  knew  where  to  stop  in  matters  decorative,  under- 
stood the  value  of  background  as  well  as  of  accent,  knew  just  where  to 
add  detail  to  be  most  effective,  knew  how  to  use  color,  its  quality  and 
texture,  and  knew  where  the  lights  and  shadows  should  appear  and  disap- 
pear. These  things  portrayed  his  preference  for  study  on  the  site  instead 
of  in  the  drawing  office.  The  models  of  clay  must  have  been  value  for 
this.  The  selection  of  concrete  and  stucco  was  excellent,  being  native  to  the 
site  and  to  the  neighborhood.  Yet  the  painter  could  very  well  have  brought 
stone  from  the  hills  of  New  England,  from  across  the  Sound,  or  brick  from 
the  valley  of  the  Hudson,  and  could  have  landed  them  on  the  site.  Doubt- 
less he  could  just  as  readily  have  used  one  or  both  of  these  materials  for 
his  purpose  and  have  made  just  as  successful  and  expressive  a house.  But 
it  would  not  have  been  a Long  Island  expression  of  his  theme.  It  might 
have  resembled  Tuxedo  or  Germantown,  both  famous  for  their  country 
houses. 

So  marked  the  success,  so  diversified  the  supply  of  water,  and  so  many 
the  things  it  does,  that  it  looks  as  if  the  distinguished  painter  must  be  on 
good  terms  with  the  nymphs,  demons,  and  goddesses  of  the  cloud,  who  en- 
riched his  Argos  with  springs  and  changed  his  hillside  into  well-watered 
land.  There  are  so  many  fountains,  and  they  seem  to  be  the  result  of  careful 
study — and  invention.  Water  from  the  hillside  is  caught,  carefully  treas- 
ured in  a land  basin  in  one  of  the  high  points.  It  is  also  pumped  by  steam 
and  by  electricity  from  driven  wells  into  tanks  which  hold  some  forty  thou- 
sand gallons.  Would  anyone  think  of  these  running  streams  of  water,  these 
cascades  and  fountains  which  illumine  the  scene  on  the  southern  side  of  the 
house,  as  artificial? 

Does  not  the  full  value  of  these  living,  sparkling  waters  shed  more  luster 
on  the  scene  than  any  marble  figure — cut  from  a rock  and  standing  under 
a canopy  formed  by  columns  and  pediments,  dignified  but  stupid  and  breath- 
less— whose  grinning  face  casts  a spirit  of  ridicule  over  everything,  seem- 
ing to  say:  “Behold  I,  even  I,  a cultivated  creature  of  classic  distinction, 
also  permit  a few  drops  of  the  spring  from  the  hills  to  trickle  through  my 
royal  throat  and  fall  as  a shower  at  my  feet”?  Such  fountains  are  statuesque 
and  dreary  as  are  the  statues  of  many  of  the  palaces  of  Europe.  There 
a fountain  is  a dead  piece  of  ornament,  a cut-stone  accent  to  carry  the  con- 
necting line  of  the  academy  between  house  and  garden,  through  so  flexible  and 
liquid  an  element  as  water.  Here  it  is  a living,  bubbling  charmer,  a madcap 
creature,  tossing,  gurgling  and  rushing. 

But  these  tumbling  waters  have  other  things  to  do  and  other  places  to 


388 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


TWO  BOWLS  AT  END  OF  CHANNEL 

The  water  enters  at  the  bottom  of  the 
bowls  and  overflows  perpetually  into  the  first 
cascade  beyond  the  window,  which  at  night  is 
illuminated  with  electric  light  of  varying  colors 


visit  and  to  charm;  they  hide  and  we 
must  follow  them  if  we  can.  Leaving 
the  larger  cascade,  the  water  passes 
through  a series  of  invisible  pipes  into 
the  house  and  appears  in  the  central 
court  to  vitalize  an  Oriental  setting. 
On  the  floor,  surrounded  by  an  inter- 
esting mosaic  of  rich  colors  built  sol- 
idly of  blocks  of  marble,  is  an  octag- 
onal tank.  In  the  center  of  this  is 
a large  vase  of  glass,  long-necked  and 
clear.  It  is  here  that  the  water  again 
appears.  Entering  at  the  bottom  and 
overflowing  at  the  top,  it  flows  swiftly 
down  the  sides  into  the  marble  tank 
and  thence  into  a long  marble  channel 
across  the  court  to  a small  cascade 
just  outside.  Palms  point  the  way.  A 
deep  shade,  accented  by  flowers  of 
violet  and  of  rose  color,  enriches  the 
scene.  This  graceful  bubble  of  trans- 
parent glass,  once  a pebble  melted  in 
an  awful  heat,  holds  the  quivering 
stream  for  a moment  and  stands  clear 


and  sparkling  against  the  dim  shadows  that  haunt  the  passages  beyond. 
The  stream,  born  of  the  dewy  mists  and  the  eternal  snows,  all  tears  and 
smiles,  seems  unconscious  of  its  native  charm.  And  the  tiny  pebble,  torn 
from  its  mother  rock  and  shaped  by  waters  cold  and  swift,  now  shapes  the 
living  stream. 

Two  immense  bowls  of  blown  glass,  about  the  height  of  an  ordinary 
table,  stand  one  on  each  side  of  the  marble  channel.  By  some  hidden  means 
water  enters  at  the  bottom  and  overflows  at  the  top,  and  then  flows  down 
the  side  into  the  cascade.  After  playing  a sort  of  infantile  tattoo  on  the 
many  facets  of  a huge  rock  crystal — supposed  to  be  the  largest  in  the  land, 
and  forming  the  liquid  tongue  of  the  grotesque  Tiffany  dragon  guarding  the 
entrance  to  the  hanging  garden- — it  again  disapears,  dropping  over  the  edge 
some  thirty  feet  into  a large  shell-like  basin  at  the  foot  of  the  lower  ter- 
race. Here  is  the  latest  treasure— a Venus  of  great  beauty. 

Again  it  is  lost  underground  for  a time  till  it  reaches  the  twin  fresh- 
water lakes,  where  it  whirls  round  and  round,  past  the  island  where  golden- 


FOUNTAIN  SCHEME  IN  MR.  TIFFANY’S  GARDEN 


389 


rod,  joe-pye-weed,  and  boneset  line 
the  margin,  past  the  hog  and  marsh 
with  its  splendid  colonies  of  marsh- 
mallow, cardinal  flower,  wild  rice,  and 
forget-me-not,  heading  straight  for  the 
deep  water  where  the  roots  of  the  tu- 
berous water  lily  are  firmly  anchored 
down,  and  where  the  surface  is  partly 
covered  with  lily  pads,  punctured  by 
sword  thrusts  of  sweet  flag  and  clumps 
of  Japanese  iris;  past  the  pergola 
where  the  long  sweeping  tassels  of  the 
trumpet  creeper  and  the  drooping 
sprays  of  the  wistaria  sip  of  the  stream 
as  it  passes  to  cool  their  blossoms. 

Then,  without  resting,  it  darts  under 
the  bridge  into  the  outer  lake — and 
so  on  to  the  great  Sound  beyond. 

Returning  to  the  house  again,  we 
enter  the  central  court,  from  which 
radiate  the  terraces  and  the  main  rooms 
of  the  house.  Here  lives  a spirit  of 
friendliness,  sunshine  for  everyone,  the 
spirit  of  the  Orient.  And  yet,  with  all 
its  beauty  and  charm,  the  court  is  but  a fine  frame,  a setting  to  the  living 
picture  outside.  It  was  to  enjoy  this  view  to  the  full  that  two  large  pillars 
had  been  removed  from  the  arcade. 

The  court  is  of  cream  and  white  with  notes  of  dark  green,  purple  and 
rose,  lilac  and  black,  dark  amber  and  low-toned  silver  coming  into  the  field 
as  pavements  of  marble,  and  as  embroideries  hung  on  the  wall  of  the  upper 
arcade — and  as  flowers  round  the  marble  tanks  and  fountains — they  inten- 
sify the  white  and  are  a pleasing  spot  of  color  in  the  scene.  An  arabesque 
border  with  its  pine-tree  motif  takes  up  about  two-thirds  of  the  wall  and 
runs  round  the  court.  It  is  crisp  in  drawing  and  very  pleasing.  It  is  of 
a low-toned  green  and  so  well  balanced  as  to  give  a certain  quality  of  scale 
to  the  big  columns  that  stand  free  and  that  carry  the  upper  arcade. 

The  omission  of  the  usual  heavi  y ribbed  lantern  light  to  the  roof  of  the 
central  court,  and  the  hanging  of  an  awning  of  delicate  purple  under  the 
light  glass  roof  was  an  inspiration.  This  gossamer  veil,  like  a soft  haze, 
draws  a welcome  tone  over  everything.  The  whole  court  is  a fairyland 


CRYSTAL  VASE  IN  CENTRAL  COURT 

In  a mysterious  manner  the  water  enters 
at  the  base  and,  overflowing  at  the  top,  con- 
tinues down  the  channel.  The  water  sparkles 
under  the  brilliant  light  of  the  lantern  roof 


390 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


with  its  fountains,  its  shifting  lights,  and  its  glow  of  color.  Even  the  sun 
lias  lent  his  aid.  It  used  to  be  said  that  Claude  added  sunlight  to  his  pic- 
tures. The  artist  in  the  woods  of  Cold  Spring  Harbor  added  the  sun  to  his 
fireside,  coaxing  it  to  smile  upon  his  children  and  his  friends  every  time  they 
passed  through  the  court. 

A brilliant  F rench  writer  says  of  irchiteeture  that  it  is  a long  and  weary- 
ing battle  between  darkness  and  light.  That  the  painter  understands  the 
true  value  of  the  middle  tone  as  the  most  desirable  atmosphere  for  daily  life 
with  its  little  duties  and  cares  is  well  shown  in  his  treatment  of  the  living- 
room.  It  is  inviting  and  restful. 

The  general  tone  is  the  gray  green  of  the  forest  with  its  transparent 
depths  and  its  cool  shadows,  which  appear  as  decorative  elements  of  the  room 
in  the  form  of  the  horse  chestnut,  its  big  leaves  and  fruit  closely  interwoven. 
This  makes  a well-balanced  network  which  adapts  its  color  and  its  density  to 
the  volume  of  sunlight  which  enters  the  room,  maintaining  an  equality  of 
shade  over  the  surface  of  the  side  wall  and  ceiling.  Its  light  tones  illumine 
the  corners  and  the  wall  surface  near  the  windows,  which  are  usually  dark, 
while  the  richer  and  fuller  tones  are  reserved  for  the  light  side  of  the  room. 
It  starts  at  the  base  and  continues  round  the  room  and  across  the  ceiling,  as 
the  transparent  background  of  a picture,  every  inch  interesting.  It  is  rich 
in  shades  of  green,  russet,  brown  and  tan,  and  has  an  indescribable  tincture  of 
quiet  mystery.  Generally  it  is  dark  at  the  base  and  light  at  the  top,  like  a 
grotto  or  bower  of  foliage  where  the  daylight  percolates  through  and  seems 
to  lift  the  canopy  of  leaves  with  its  light  and  air.  There  is  neither  trim  nor 
drapery  to  the  windows  nor  anything  to  break  up  the  network  which  seems 
to  melt  in  with  the  native  woods  outside.  The  side  wall  and  ceiling  unite 
in  a cove.  The  whole  scene  an  epic  in  paint. 

There  is  a picturesque  eloquence  in  the  ingle-nook  that  invites  study. 
It  is  very  original  in  outline  and  it  reaches  halfway  across  the  room.  Some- 
thing of  the  Orient  pervades  it,  with  its  sunken  hearth,  its  quaint  canopy 
resting  on  low  pillars,  under  which  crescent-shaped  benches  appear,  curi- 
ously hollowed.  The  space  under  the  canopy  is  wide  and  open  at  the  ends. 
There  is  an  absence  of  restraint  to  the  fire.  Literally  it  is  on  the  hearth, 
without  piers  or  jambs  to  bewilder  the  smoke.  The  bluish  curl  often  whirls 
round  and  round  and  gives  to  all  who  sit  within  its  reach  a whiff  of  pine 
and  cedar  logs,  now  smouldering,  now  burning  brighth  . 

I have  been  unable  to  place  due  emphasis  upon  many  inviting  features, 
practical  though  they  be — the  arrangement  of  sliding  outside  blinds  to  the 
upper  windows ; the  absence  of  cornices  to  passages  and  bedrooms ; the  pre- 
serving of  the  best  views  from  the  windows  even  though  it  entailed  a breach 


FOUNTAIN  SCHEME  IN  MR.  TIFFANY’S  GARDEN 


391 


in  an  architectural  law;  the  substitution  of  cement  for  tiles  or  mosaic  in  the 
floors  and  on  the  side  walls  of  the  bathrooms ; and  the  large  number  of  those 
practical  luxuries;  and  the  great,  whole-souled  handling  of  primitive  mate- 
rials in  almost  a primitive  manner,  such  as  one  would  expect  from  a vine- 
yard in  the  north- 
ern part  of  Italy, 
w h e r e mother 
earth  is  not  en- 
tirely concealed 
by  even  a mosaic 
of  cobbles,  but  is 
welcomed  into  the 
theme. 

Some  say  this 
type  of  design  is 
an  architectural 
riddle,  mere  gar- 
den architecture, 
a piece  of  stage 
setting,  charming 
as  such,  but  not 
to  be  taken  seri- 
ously. And  they 
ask : What  would 
happen  when  we 
wake  up  in  the 
morning  a n d 
chance  to  see  the 
under  side  of 
things  in  all  their 
reality,  and  find 
many  of  the  fea- 
ture  s whic  h 
looked  like  gran- 


TIIE WHITE  COURT  WITH  ITS  CRYSTAL  FOUNTAIN 

This  scene  has,  with  all  its  modernity,  an  Oriental  flavor  and  gives  a 
good  idea  of  the  architectural  detail  of  the  many-sided  India  pillars 


ite  or  stone  to  be 

but  a theme  in  stucco  on  a frame  of  wood  and  metal?  Others  ask:  Will  it 
last?  Doubtless  many  are  kept  from  a composition  house  by  a mirage 
of  fear  that  the  havoc  played  by  the  weather  will  be  fatal,  and  they  tremble 
at  the  ease  with  which  the  stuff  can  he  adulterated.  In  spite  of  this,  the 
bridges  of  the  world  rest  on  concrete  and  cement. 


392 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


Boiling  down  the  above  questions  into  one,  it  amounts  to  this : Have  con- 
crete, stucco,  plaster,  cement  an  individuality  of  their  own,  or  are  they  sim- 
ply coverings  to  a skeleton?  It  almost  takes  away  one’s  breath  to  have  to 
undertake  so  simple  a theme.  The  integrity  of  these  materials  has  been  es- 
tablished for  ages,  but  for  many 
local  reasons  they  have  not  re- 
ceived the  prominence  to  which 
they  were  entitled.  In  the  damp- 
ness of  some  parts  of  the  old 
country  cement  was  a valuable 
covering  to  brick  or  stone,  and 
the  readiness  with  which  this 
valuable  covering  could  be  used 
as  a mask  to  disguise  its  real 
nature  has  furnished  a jest 
everywhere. 

It  is  often  asked:  When  shall 
we  grow  up?  When  will  our 
houses  be  a frank  illustration  of 
the  innate  good  in  ourselves,  our 
understanding  of  life;  when  shall 
the  fearful  nightmare  end?  In 
what  section  of  the  land  resides 
the  charmer?  Thanks  to  the 
art  of  printing,  poetry  of  the 
world  goes  to  poor  as  well  as  to 
rich.  So  does  the  human  voice, 
the  enthusiasm  of  singer,  actor, 
and  speaker  charming  large  au- 
diences. Our  writers  also  are 
welcomed  throughout  the  globe 
because  of  singular  originality 
and  brilliancy  of  expression. 
Still  for  one  thing  we  are  pro- 
foundly thankful,  for  to-day  we 
no  longer  ask,  with  tears  in  our 
eyes,  where  is  the  architect  with 
greater  than  architecture — which 


MOSAIC  FLOOR  OF  FOUNTAiN  COURT 

With  the  instinct  of  the  artist,  the  painter  has  made 
admirable  use  of  a rare  black  marble  which  appears  as 
the  above  sketch  shows,  where  the  most  is  made  of  the 
contrast  between  different  materials.  It  also  follows  the 
custom  adopted  by  Oriental  enthusiasts,  acknowledging 
dark  tones  of  Mother  Earth,  and  here  in  the  house  that 
legendary  conception  is  preserved,  playing  up  the  crys- 
tal, adding  greatly  to  the  enjoyment  of  water  in  motion 


things 


a universal  appeal — conscious  of 
characterizes  homes  in  the  Land  of  Ancient  Courtesies  ? 

Rodin,  the  sculptor,  makes  of  clay  something  which  appeals  to  the  world, 


FOUNTAIN  SCHEME  IN  MR.  TIFFANY’S  GARDEN 


393 


and  our  artist  in  the  woods  of  Cold  Spring  Harbor  has  found  in  clay  a 
power  which,  when  baked  and  added  to  pebbles  and  sand,  becomes  a subtle 
means  of  expression  which  is  well  worthwhile.  I venture  to  ask:  Need  we 
go  abroad  for  the  “something  of  Italy”?  Is  there  not  something  here  in 
this  twentieth-century  interpretation  of  the  subtleties  of  the  Orient  deserv- 
ing serious  attention?  It  is  not  so  very  long  since  the  ruins  of  little  houses 
and  mosques  of  mud  on  primitive  framework  of  palm  stalks  were  seen 
across  the  desert — a white  vision,  a pearl  of  great  value  floating  in  a trans- 
lucent atmosphere  like  a mirage.  We  have  all  seen  what  the  spirit  of  com- 
merce and  science  prompted — the  bridges  and  skyscrapers,  and  the  import- 
ant part  assigned  to  cement — burnt  clay — on  a network  of  iron  and  steel. 
Europe  has  furnished  very  encouraging  signs  of  the  awakening  of  the  Spirit 
of  Architecture,  to  which  must  he  added  a hint  from  America.  This  house 
of  Cold  Spring  Harbor  has  several  lessons  to  teach — among  others,  the  value 
of  primitive  materials,  and  that  it  is  possible  to  make  an  attractive  place 
without  either  brick,  stone  or  wood  as  a visible  element;  and  that,  with  all 
his  love  of  mysticism,  it  is  possible  for  the  artist  to  keep  one  foot  on  earth 
and  yet  to  wring  from  it  water  for  fountains  and  cascades,  which  can  be- 
come a fit  comrade  for  our  flowers  and  plants  when  used  as  decorative  em- 
bellishments, as  a substitute  for  glitter  and  carving,  and  the  hundred  and 
one  architectural  features. 

In  a recent  discussion  as  to  the  type  of  decoration  for  a house,  I find  so 
valuable  an  index  of  the  man  and  the  method  by  which  he  works  that  I 
use  it  as  a benediction  to  my  writing: 

“Yes,  the  wall  covering  seems  to  be  fading,  I fear.  And  yet  I like  it 
as  it  is — for  myself ; but  then  we  must  think  of  others  and  the  background 
which  is  best  for  them.” 


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394 


The  Spaulding  Estate  at  Prides  Grossing 

Little  & Brown,  architects 

Illustrations  from  photographs  by  F.  L.  Fales 


THE  usual  approach  to  Prides  Crossing  is  through  Beverly  and  Mont- 
serrat, with  Manchester  and  Magnolia  near  at  hand.  In  spite  of  its 
individual  note,  its  well-studied  plan  and  prominent  sky-line,  so  unob- 
trusive is  the  property  of  Mr.  William  S.  and  John  T.  Spaulding,  and  so 
well  and  thoroughly  does  it  form  a part  of  this  ever-engaging  locality,  that 
with  all  its  beauty  it  might  be  passed  by  unnoticed.  This  tine  estate  runs  to 
the  water  edge  and  ex- 
tends to  the  turnpike. 

Although  so  many  peo- 
ple will  insist  on  speaking 
of  the  luxuries  of  this 
inviting  section  of  the 
northern  shore  of  Massa- 
chusetts, the  real  lover  of 
the  picturesque  and  beau- 
tiful will  not  fail  to  realize 
its  complacency.  There 
seems  to  be  a maximum 
of  that  intangible  quality 
known  as  nature  and  a 
minimum  of  the  world’s 
friction  and  worry.  We 
can  hardly  think  of  any 
artist  or  wholesome  man 
of  the  world  remaining 
unstirred  by  the  magic  of 
this  shore  line,  this  collec- 
tion of  islands,  peninsulas, 
little  bays  and  reefs, 
round  and  beneath  which 
are  so  many  caves  of  the 
sea  itself. 


A PEEP  THROUGH  THE  IVY-CLAD  BOWER 

A vista  across  the  lagoon  discloses  a graceful  balustrade  and 
half  hidden  by  a rich  mantling  of  creepers  a tiny  figure  holds  court 


395 


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FOUNTAIN  IN  GARDEN  OF  MRS.  E.  S.  GREW,  MANCHESTER-BY-THE-SEA,  MASS. 

This  fantastic  conception  of  children  dancing  in  the  spray  has  the  charming  illusion  of  movement 
and  wild  abandon  when  the  sun  gladdens  the  scene.  The  patina  of  the  children  is  of  dark  green 


Water  as  an  Element  of  Beauty 

EVEN  if  we  do  not  know  anything  about  poets,  or  writers  of  prose 
fiction,  we  may  venerate  certain  sources  of  their  inspiration,  of  which 
appropriate  fountains  for  the  garden  are  prominent  whether  they  he 
in  the  nature  of  central  or  detached  figures,  wall  or  pool  fountains.  This 
enjoyable  subject  is  profitable  for  students.  Fountains  designed  for  the 
adornment  of  a special  place — such  as  amorini,  nymphs,  mermaids  for  a 
grove  or  bosquet  or  some  well-balanced  and  important  positions — are  often 
beautiful,  while  others  are  dull  and  stupid,  resembling  a day  without  sun- 
shine. To  many,  figures  and  groups  of  figures  intended  to  be  classed  as 
fountains,  but  which  are  often  dry,  are  no  little  tax  on  the  imagination,  the 
sense  of  tolerance,  as  are  electric  lights,  self-assertive,  often  “all  fitting’’— 
attractive,  perhaps,  but  capable  of  transmitting  little,  if  any,  light;  invit- 
ing, rather,  pity  or  ridicule.  The  more  seriously  conventionalized  heraldic 
device  of  the  nude  figures  supporting  the  cardinal’s  crest  and  the  vase  ar- 
rangement at  the  head  of  the  serpent  scheme  at  Villa  Lante,  Viterbo,  al- 
though beautiful  in  themselves,  are  didl  without  the  motion  of  the  water. 
We  often  become  so  concerned  with  fittings  that  we  forget  that  far  and 


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WATER  AS  AN  ELEMENT  OF  BEAUTY 


401 


above  all  is  the  fact  that  we  are  privileged  to  entertain  as  guest  of  our  king- 
dom the  greatest  element  of  human  life.  That  this  is  a privilege  we  must 
ever  bear  in  mind.  Thanks  to  modern  ingenuity  and  general  equipment  of 
the  engineer,  water  can  be  secured  in  most  country  places  and  used  for  deco- 
rative display  over  and  over  again.  The  magic  of  the  driven  well  and  of  the 
automatic  pump  working  from  a stream  or  brook  is  thoroughly  under- 
stood. Pumps  can  be  installed  with  storage  tank  on  elevated  portion  of  a 
site  at  a very  reasonable  price.  I say  “reasonable,”  as  compared  with  the 
effect  water  has  as  a decorative  agent  and  compared  with  money  spent  in 
other  ways.  It  really  seems  as  though  we  should  try  to  devise  some  press 
agent  for  water  as  a decorative  agent!  Unlike  brick  or  stone,  its  exploita- 
tion does  not  bring  revenue  to  any  one  corporation.  See  what  the  Orien- 
tals do  with  it.  I have  in  mind  a Turkish  court,  with  all  the  romantic  beauty 
of  a painted  city  of  Spain.  It  had  an  open  conduit  or  channel  of  delicately 
veined  green  marble,  into  which  black 
arrows  were  inlaid  so  that  as  the  water 
ran  over  them  they  seemed  to  quiver 
tremulously  like  poised  fish.  Another 
had  a small  square  pool,  the  corners  of 
which  had  locust  flowers  which  seemed 
to  shake  as  though  fretted  by  a passing 
wind  as  the  water  rushed  over  them. 

Still  another  I recall  where  the  flooring 
is  honeycombed  with  crevices  so  that 
the  water  passes  through  like  liquid  em- 
broideries. The  gracefully  undulating 
movement  of  water  is  recorded  graphi- 
cally in  the  pavement  of  the  Baptistry 
of  Florence,  where  white,  dark  green 
and  dull  red  marble  depicts  the  four 
rivers  of  Paradise  alluded  to  in  the  re- 
ligious service  of  blessing  the  baptismal 
water.  We  are  indebted  to  Mr.  Wil- 
son Eyre,  architect,  for  scene  on  page 
376;  to  Kilham  & Hopkins  for  view 
on  page  396;  to  Mr.  Ferruccio  Vitale, 
landscape  architect,  for  picture  on  page 
401.  The  groups  of  figures  depicted  on 
pages  396  and  397  were  designed  by 
Anna  Coleman  Ladd,  sculptor. 


GARDEN  SCENE  AT  CORNO,  N.  Y. 


Approach  to  hidden  garden  on  estate  of 
Mr.  S.  Heilner,  so  satisfactorily  built  that 
when  heavy  rains  cause  a freshet  it  is  a 
veritable  cascade  and  none  the  worse  for  it 


404 


CHAPTER  I 


GARDEN  CITIES  LEGENDARY  AND  REAL 

Forest  Hills  Gardens , Forest  Hills,  L.  an  American  suburb  with  the  ’pic- 
tures fineness  of  a cathedral  city  of  medieval  clays — Roland  Park,  the  engaging  and 
deservedly  popular  suburb  of  Baltimore,  Md.,  and  its  recent  addition,  Guilford  Dis- 
trict— A Hillside  Garden  House  without  a Name,  bristling  with  personality. 

LIKE  the  earliest  literature,  the  account 
of  domestic  life  began  in  the  garden 
and  is  to-day  continuing  in  the  neigh- 
borhood of  the  city.  Garden  Cities,  little 
havens  of  rest,  far  removed  from  the  mys- 
tic drum-beat  of  the  town  with  its  pic- 
turesque variety,  its  scattered  fragments  of 
traditions,  its  shops,  theaters  and  clubs,  are 
within  reach  of  everyone,  thanks  to  the  elec- 
tric trolley  car.  I love  to  see  these  new  solu- 
tions of  the  time-honored  problem,  these 
homes  which  are  bright  and  cheerful;  and 
I love,  also,  the  reproductions  of  the  old. 
mellow  brick  houses  that  are  so  respectable, 
recalling  the  energetic  days  of  our  early 
struggle. 

It  is  generally  said  that  the  city  is  the 
parade  ground  for  the  wealthy,  the  hiding 
and  abiding  place  for  the  toiler,  the  screen 
for  those  who  minister  to  entertainment  of 
the  one  and  maintenance  of  the  other.  If 
I were  to  look  for  the  “salt  of  the  earth,”  servant  of  ail,  uncrowned  monarch 
among  men,  it  is  to  the  suburbs  that  I would  go,  because  he  knows  the  true 
value  of  the  name,  “Garden  City,”  a term  expressing  unity  and  co-partner- 
ship of  two  extremes,  taking  from  both  the  sunshine  and  giving  it  to  the 
world.  Garden  Cities  here  and  beyond  the  confines  of  this  land  husband 
ideals  of  people  who  have  been  classed  as  the  “saving  minority,”  who  above 
all  endeavor  to  reform  themselves.  It  is  good  for  us  to  live  with  our  fellow, 
be  criticized,  to  be  licked  into  shape — and  who  is  there  that’s  above  it? 


405 


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406 


The  Sage  Foundation  Property  at  Forest  Hills  Gardens 

Forest  Hills,  Long  Island 

Designed  by  various  architects  under  the  immediate  direction  of  Grosvenor 
Atterbury,  architect,  and  Olmsted  Brothers,  landscape  architects 

Illustrations  from  photographs  by  A.  K.  Hanks 


HE  New  Yorker  generally  speaks  of  Forest  Hills  Gardens 
as  a mighty  good-looking  proposition.  That  is  the  way  he 
disposes  of  it,  in  his  brisk,  analytical  fashion.  There  is  cer- 
tainly something  attractive  in  the  name.  There  is  much 
more  that  is  interesting  in  the  scheme.  Here  it  is  upon 
paper.  These  views  were  made  a short  time  ago.  They  are 
not  enriched  like  painted  pictures  by  some  distinguished  artist  ! They  are 
just  plain  everyday  views  taken  with  a camera.  The  photographer  worked 
under  direction;  that  is,  the  scenes  were  selected  for  him.  These  photo- 
graphs speak  eloquently  in  a language  that  is  acceptable  the  world  over. 
They  are  not  interesting  bits,  little  show  pictures,  from  the  land  of  ancient 
courtesies  and  romantic  ideals.  They  are  not  inspiring  memories  from  little 
by-ways  and  forgotten  lanes  and  sloping  hillsides  in  remote  sections  of 
southern  Europe,  but  they  are  views  of  new,  of  real  work,  tangible  evi- 
dences of  American  enterprise.  They  show  how  the  place  is  wearing,  how  it 
is  improving,  how  it  is  mellowing,  and  what  an  excellent  place  it  is  in  which 
to  live.  It  is  full  of  shade  and  shadows,  of  interesting  detail,  and  unex- 
pected views,  and  above  all,  and  for  all,  one  great  golden  opportunity  for  a 
home,  for  those  who  want  a home. 

The  usual  home-seeker,  on  visiting  a real  estate  development,  is  in- 
variably confronted  with  a very  serious  problem.  He  may  be  more  than 
satisfied  with  that  portion  of  the  property  which  he  proposes  to  purchase, 
he  may  be  more  than  pleased  with  the  outlook  as  it  is  to-day,  but  what  of 
the  morrow?  Who  will  his  neighbors  be?  How  and  just  where  will  they 
build?  What  kind  of  trees,  if  any,  will  line  the  sidewalk?  What  treatment 
will  be  accorded  the  corner  lots?  And  just  what  disposition  will  be  made  of 
the  few  delightful  old  trees,  which  give  to  the  property  a certain  dignity 
and  character?  Boiled  down  into  one  sentence,  the  prospective  purchaser 
is  requested  to  be  patient,  to  await  results,  which,  at  best,  are  matters  for 
speculation,  often  madcap  speculation,  or  he  is  asked  to  exercise  an  imag- 


407 


DO  NOT  CREEPERS  SOFTEN  HARD  EDGES  IN  A MOST  AGREEABLE  MANNER? 

The  best  architect  is  he  who  serves  hest  daily  needs  of  the  public  in  an  unassuming  way.  It  may  be 
concrete,  stone  or  the  delicate  foliage  of  a wandering  creeper  testifies  to  his  honesty  of  purpose  and  skill 


408 


FOREST  HILLS  GARDENS,  LONG  ISLAND 


409 


ination  lie  may  not  have,  and  to  conjure  up  a suitable  setting  for  his  house, 
after  his  own  fashion. 

It  would  be  futile,  unfair,  to  assign  to  the  industrious  real  estate  agent 
a desire  to  misrepresent  in  any  way,  shape  or  manner.  To  him  also  is  the 
future  a blank.  His  business  is  to  inspire  confidence  and,  incidentally,  to 
sell.  He  is  the  last  man  to  voluntarily  deceive.  It  is  the  system  which  is  un- 
reasonable, unsatisfactory.  The  prospective  purchaser  is  also  just  a little 
unreasonable.  He  asks  too  much.  He  often  presupposes  a knowledge  the 
real  estate  agent  does  not  have,  and  has  no  means  of  getting.  The  ques- 
tions are  pertinent  and  timely.  They  are  perfectly  natural.  The  prospec- 
tive purchaser  is  well  within  his  rights.  A man  who  expects  to  live  a good 
share  of  his  life  in  any  locality  would  he  foolish  to  ignore  the  immediate 
future,  the  general  outlook  of  the  district. 

The  garden  city  idea,  which  has  inspired  the  designers  of  Forest  Hills 
Gardens,  varies  from  the  ordinary  real  estate  development  idea  in  its  gen- 
eral plan,  which  provides  for  the  definite  treatment  of  a large  area  in  a 
specific  manner.  It  provides  that  roads  shall  be  laid  out,  shall  radiate  and 
circle,  boulevards  be  logical,  leading  to  natural  climax,  and  be  planted,  and 
that  the  estate  shall  be  so  divided  up  into  lots  as  to  give  to  each  purchaser 
a certain  individual  attraction.  Garden  cities  are  made  beautiful  from 
their  commencement,  before  the  roads  are  cut,  before  drains  are  inserted,  or 
houses  erected.  A certain  uniformity  of  building  is  determined  upon,  cov- 
ering the  vexed  question  of  style,  cost,  material.  Many  other  questions  are 
settled,  such  as  the  way  in  which  the  houses  shall  be  grouped  in  their  rela- 
tion to  each  other.  The  study  of  these  points  lessens  the  uncertainly  con- 
fronting the  purchaser.  Yet,  it  permits  certain  individual  interpretation 
likely  to  be  acceptable. 

When  first  the  interesting  drawings  for  this  Dream  City,  as  it  was 
facetiously  called  by  some,  were  exhibited  in  public  on  the  walls  of  the  Archi- 
tectural League,  prominent  clubs,  in  this  city  and  elsewhere,  the  whole 
scheme  was  rejected  by  many  as  being  too  idealistic,  too  far  removed  from 
the  requirements  of  American  people.  The  drawings  were  attractive.  They 
were  ambitious  in  the  extreme.  They  were  highly  colored.  The  views  be- 
fore us  are  far  more  satisfactory.  Not  only  do  they  pay  delicate  homage 
to  the  place  as  it  is,  but  no  unstinting  tribute  to  the  gentleman  who  made 
those  drawings,  four  or  five  years  ago,  still  more  to  the  general  scheme  as  a 
whole.  They  are  before  me  now.  In  many  cases  the  photographs  are  bet- 
ter than  the  prospective  sketch,  in  spite  of  color  and  texture  of  the  canvas, 
well-drawn  figures,  and  subtle  introduction  of  movement  in  foreground. 

I recall,  with  no  little  satisfaction,  the  critical  comment  of  visitors  at 


FEW  VISITORS  FORGET  THE  FIRST  IMPRESSION  OF  THIS  VERY  ENGAGING  PICTURE 

Arriving  at  Forest  Hills  Gardens  by  the  railroad,  the  visitor  feels  the  heart  of  the  place,  getting 
an  impression  of  the  Gardens  as  a whole.  The  word  “village”  is  good  enough  for  anyone,  after  Tho- 
reau’s  lucid  characterization;  still,  “town”  is  better,  because  it  involves  the  idea  of  individual  ownership. 

“I  spent  the  day  at  Forest  Hills,”  writes  one.  “The  place  is  delightful.  Greens  and  mysterious 
grays  are  everywhere.  The  houses  are  new — that  you  realize — but  it  has  a sense  of  mellowness,  of 
repose  and  quiet,  of  sunshine  and  pleasure,  which  is  contagious.  Mary’s  dining-room  looks  out  on  a 
sloping  lawn.  There's  a cute  little  breakfast  room  or,  rather,  loggia  at  the  side.  The  loggia  is 
paved,  if  you  please,  in  a most  fantastic  way,  not  with  mosaic,  or  broken-up  marble,  or  any  other 
thing  of  that  kind,  but  with  broken  red  tile,  with  a thick,  wide  jointing,  I think  they  call  it,  between 
each  fragment.  Here  are  myrtle  trees  and,  strange  to  say,  orange  trees.  Think  of  it ! It  is  a fairy- 
land, because,  while  the  place  is  nearly  a hundred  and  fifty  acres,  it  is  all  attractive.  It  is  a garden 
where  the  houses  are  mere  incidentals.  The  little  place  is  not  overwhelmingly  architectural.  Its  big, 
open  avenue  of  vigorous  young  trees  is  lined  with  small  houses  of  great  variety,  well  designed  and  satis- 
factorily built,  places  that  will  doubtless  grow  more  beautiful  every  year,  and  which  are  now  assuming 
a richer  and  lower  tone,  getting  further  away  from  the  material  itself,  and  forming  part  of  the  land- 
scape. The  windows  of  many  are  balconied,  and  have  casements  opening  out.  There  are  window  boxes 
filled  with  flowers.  If  they  keep  on  building,  and  families  move  in,  it  will  be  a delightful  place” 


410 


FOREST  HILLS  GARDENS,  LONG  ISLAND 


411 


the  League,  when  first  these  drawings  were  on  view.  “This  kind  of  thing 
is  all  right  for  England.  I have  seen  it  at  Hampstead  and  Letchworth,  and 
at  Port  Sunlight.  The  triangle  and  the  park  at  Bourneville  is  the  kind  of 
thing  that  these  gentlemen  would  like  to  introduce  here.  On  paper,  it’s  a 
mighty  interesting  story.  But  it  won’t  go  here.  Our  people  won’t  stand 
for  it.” 

Says  one,  “It  is  merely  a cunning  revivification  of  the  medieval  half-tim- 
ber construction  transformed  into  modern  lines  and  expressed  by  means  of 
concrete.”  Another  says,  “It  is  the  work  of  an  engineer  momentarily  hyp- 
notized into  doing  something  acceptable  to  the  esthetic  eye.” 

It  is  so  easy  to  criticise,  so  natural  to  pooh-pooh  a new  thought. 

The  accompanying  views,  still  on  paper,  by  the  way,  but  in  a language 
intelligible  to  the  man  of  the  street,  show  the  folly  of  the  critics  of  the 
League,  and  are  a splendid  triumph  for  the  enthusiasts  of  the  scheme. 

This  work  is  from  the  office  of  a man  who  is  making  good.  By  that  I 
mean  that  he  is  achieving  distinction  by  the  adroit  use  of  commonplace  ma- 
terial to  express  a noble  idea.  It  is  not  academic  in  its  ambition  but  the 
outcome  of  daily  needs. 

To  quote,  in  part,  an  official  announcement:  “Forest  Hills  Gardens  is 
known  technically  as  a suburban  land  development  of  one  hundred  and  for- 
ty-two acres,  within  the  city  limits,  on  the  new  line  of  the  Long  Island  Rail- 
road, at  the  Forest  Hills  station,  nine  miles  in  distance  and  thirteen  min- 
utes in  time  from  the  Pennsylvania  terminal  in  New  York,  and  about  three 
miles  on  the  New  York  side  of  Jamaica.  The  railroad  is  directly  at  the 
entrance  of  the  estate.”  It  is  still  further  known  as  a business  investment 
of  the  Russell  Sage  Foundation,  conducted  on  strictly  business  principles 
for  a fair  profit.  Mrs.  Sage  lias  been,  for  a long  time,  interested  in  the 
need  of  better  and  more  attractive  housing  facilities  in  the  suburbs,  for  per- 
sons of  moderate  means,  who  could  pay  from  twenty-five  dollars  a month 
upwards,  in  the  purchase  of  a home. 

Of  course  these  houses  are  well  contrived,  fitting  the  site,  the  pocket- 
book  and  the  family.  Some  of  them  are  in  groups  of  three  and  four.  Some 
are  semi-detached.  Some  form  a handsome  terrace.  One  group,  may  I 
write,  blessed  by  the  cognomen  13,  comprises  two  detached  and  two  semi- 
detached, single  family  houses.  The  former  run  east  and  west,  the  latter 
north  and  south,  and  so  form  three  sides  of  a square.  They  each  have  an 
individual  garden,  and  have  an  unusually  interesting  diagonal  view  of  the 
road  on  which  they  front,  and  present  to  their  neighbors  an  agreeable  pic- 
ture. They  are  built  of  brick,  being  known,  technically,  as  of  semi-fire- 
proof  construction,  with  rough-cast  surfacing,  and,  like  the  rest  of  the 


412 


AMERICAN  COUNTRY  HOUSES  OF  TO-DAY 


houses,  are  roofed 
with  red  tile.  T li  e 
eaves  overhang,  after 
the  fashion  of  many  of 
the  peasant  cottages 
in  rustic  England.  It 
is  through  a hooded 
porch  that  the  front 
door  is  reached.  The 
living-room  h as  an 
open  fireplace. 

The  buildings  bal- 
ance well  with  each 
other;  a certain  sym- 
m etry  is  observed 
which  contributes  to 
quality  of  repose  and 
wholesome  restraint. 
T h i s speaks  splen- 
didly for  whole-souled 
management,  for  in- 
dustry and  skill  of 
supervising  architect, 
for  general  lay-out  of 
the  place. 

There  is  a whole 
lot  of  common  sense 
in  the  geography  or  philosophy  or  planning — call  it  what  you  will.  The  back 
yards,  if  such  a name  can  be  given  them,  are  made  interesting.  They  are 
planted.  The  family  laundry  is  concealed  behind  trellis  enclosures,  open 
yet  sheltered.  Underground,  half  sunken  driveways  lead  the  automobile  to 
the  garage.  The  houses  are  grouped  so  as  to  form  a picture,  as  well  as  a 
shelter  for  the  inmates.  There  is  nothing  arrogant  or  affected  about  any 
section  of  the  estate. 

Some  one,  a woman  of  course,  wrote  the  other  day  that  one  great  thing 
about  the  writing  of  Arnold  Bennett,  in  his  “Tales  of  the  Five  Towns,” 
was  the  remarkable  manner  in  which  he  maintained  a certain  quiet,  equable 
interest  along  a definite  line,  dealing  with  every-day,  middle-class  people, 
every-day  ambitions,  and  with  this  material  he  held  bis  public,  charming 
them  delightfully  by  bis  fantastic  method  of  expression.  Just  so  have  the 


SOME  BALCONIES  ARE  VERY  SUBSTANTIAL 

Remembering  the  inevitable  limitations  of  planting,  we  realize 
that  nature  has  been  remarkably  generous  to  this  little  house 


FOREST  HILLS  GARDENS,  LONG  ISLAND 


413 


architects  of  Forest 
Hills  clung  to  an  at- 
tractive use  of  simple 
materials. 

I am  making  these 
notes  in  a wide,  open 
corridor,  a continuous 
arcading  cloister  fash- 
ion, which  is  bordered 
with  low  shrubs.  Be- 
fore me  is  a large  open 
space,  partly  paved. 

Too  often  has  the 
average  person  of 
good  taste,  limited 
pocketbook  and,  shall 
we  add,  limited  ideals 
and  imagination, 
armed  perhaps  with 
pictures  and  sketches 
and  a patient  disposi- 
tion, haunted  the  office 
of  the  architect  in  the 
vain  hope  that  he 
might  be  induced  to 
design  a decent  small 
house  in  which  to  live. 

He  may  have  suc- 
ceeded so  far  as  individual  requirements  have  been  concerned,  but  what  of 
the  neighborhood?  What  of  the  view?  What  of  the  dreadful  railroad 
journey,  the  ferryboat  delays  and  picturesque  timetable?  To-day,  in  For- 
est Hills  Gardens,  this  outlook  has  been  changed.  Somebody  has  classified 
a garden  city  as  a paradise  wherein  the  slippery  serpent  in  the  guise  of  the 
speculative  builder  is  unknown,  and  where  his  methods  have  been  avoided. 
This  city  of  homes  is  certainly  a place  which  promises  to  wear  well. 

A friend  writes,  “See  Forest  Hills  Gardens.  It  has  a personality,  a 
character  which  is  unmistakable,  and  lots  of  snap !” 

And  still  another:  “I  have  just  arrived.  No,  I didn’t  enter  through  em- 
blazoned gates,  my  dear.  It  isn’t  surrounded  by  elegant  railings,  with  foun- 
tains and  cascades.  There  is  no  brass  band  on  the  terrace,  but  there  is 


AN  ATTRACTIVE  HOME  IN  A GROVE  OF  TREES 

Do  the  trees  realize  that  their  fellows  have  been  sacrificed  to 
lend  character  to  the  substantial  framing  of  the  upper  story? 


THE  UPPER  FLOOR  IS  SAID  TO  BE  THE  ACCENT  IN  THIS  ENGAGING  HOME 

Climbing  to  the  front  door  by  a series  of  outside  steps,  we  are  well  rewarded,  for  the  house  is 
full  of  admirable  detail,  showing  skilful  use  of  brick  and  colored  tile  laid  following  mosaic  fashion 

hepe  a contented  spirit  which  is  catching.  The  crocuses  and  snowdrops  are 
just  in  bloom.  Some  of  the  early  creepers  are  dropping  down  purple  blos- 
soms from  the  pergola  on  to  the  little  table  on  which  I write.  Through 
the  open  casement  I can  just  see  the  fountain  in  the  village  green;  you 
know,  the  one  of  which  Alice  spoke.  The  air  is  fragrant.  Susan  came 
to  see  me  in  a bright,  clean  alpaca,  which  looked  better  than  any  gown  I 
ever  saw  on  Fifth  Avenue,  all  because  it  goes  with  the  spirit  of  the  place, 
and  helps  spell  domesticity.  I like  the  place,  it  is  clean  as  a new  pin.  It 
is  neither  Dutch  nor  English.  It  has  an  American  air,  distinctly  cosmo- 
politan. At  the  same  time,  those  who  have  lived  abroad  must  welcome  it, 
and  those  who  have  not,  can  come  here  and  get  some  of  the  perfume  and 
general  hang  of  things,  which  we  like  so  much  on  the  continent  of  Europe. 
It  isn’t  a dressy  or  any  ’airy’  place.  One  little  house  is  so  delightful,  that  I 
must  describe  it.  You  have  to  climb  up  to  the  second  floor,  to  reach  the 
front  door.  It  is  built  of  brick.  The  ends  of  the  brick  project,  very  much 
as  they  do  in  Holland.  I almost  expected  to  find  a three-wheeled  cart, 
drawn  by  a little  lady  with  a wrinkled  brown  face,  selling  delicious  cream 
cheeses  for  three  sous.” 

We  have  to  thank  the  following  gentlemen,  active  in  general  practice, 
for  their  efforts  in  bringing  to  the  picture  things  of  a marked  individual 


414 


FOREST  HILLS  GARDENS,  LONG  ISLAND 


415 


character:  Wilson  Eyre,  F.  J.  Sterner,  Albro  & Lindeberg,  Aymar  Em- 
bury II,  F.  T.  Tubby,  Jr.,  and  J.  A.  Tompkins,  associated  with  Mr.  Atter- 
bury.  To-day  others  are  designing  additional  work. 

The  planting  is  very  admirably  contrived;  that  is,  plants  are  remem- 
bered as  creatures  of  life,  demanding  certain  essential  conditions.  This  is 
to  be  seen  along  the  edges  of  the  main  avenues,  close  to  the  fences  of  the 
house,  and  is  very  much  in  evidence  alongside  the  piers  of  the  hotel,  where 
pockets  have  been  provided  for  creepers,  giving  accommodation  for  rootage 
and  proper  soil,  so  that  they  are  neither  drowned  out  by  storm,  water,  nor 
killed  by  frost,  nor  permitted  to  perish  of  thirst  in  the  summer  time. 

In  this  story  I am  dealing  with  what  I see  and  know  and  love,  and  what 
I understand,  namely,  that  this  community  of  interest  has  been  singularly 
successful  in  giving  an  esthetic  value.  More  than  that,  it  lias  an  inviting 
appearance  as  a possible  home. 

The  last  view  of  the  Gardens,  as  we  return  to  town,  invites  a general 
summing  up  of  everything.  Here  is  the  forerunner  of  a future  suburb. 
Homes  are  needed  for  the  people,  of  that  there  is  not  any  doubt,  and  any- 
thing which  will  throw  light  upon  the  thought  in  a practical  way,  by  illus- 
trating what  so  many  thousand  dollars  will  do  in  a given  position,  is  indeed 
welcome.  We,  as  a nation,  are  thinking,  changing,  growing.  We  are  learn- 
ing. The  nation  is  alive  to  the  need  of  this  increase  of  individual  ownership. 
The  idea  is  spreading 
far  and  wide.  Forest 
Hills  Gardens  is  a lit- 
tle island  of  order  in  a 
great  ocean  of  oppor- 
tunity, of  industrial- 
ism, of  turmoil,  too 
often  of  greediness. 

We  are  told  that  we 
must  try  to  b u i 1 d 
up  an  aristocracy  of 
thought  and  feeling, 
able  to  combat,  or,  at 
any  rate,  to  hold  its 
o w n against  selfish- 
ness; still  we  are  glad 
to  see  the  advance- 
ment of  the  aristocra- 
cy of  commercialism. 


ONE  DOORWAY  IN  THIS  CITY  OF  MANY  GARDENS 

This  is  one  fortunate  occasion  where  we  clo  not  have  to  mould 
and  carve  the  woodwork,  as  our  front  door  is  graced  by  the  sunshine 


416 


IS  NOT  THE  STAGE  PRETTILY  SET  FOR  THESE  SMALL  HOUSES? 

Of  course,  it  needs  a woman  to  complete  the  picture.  It  is  not  merely  the  staging  that  counts; 
it  finds  its  interest  not  a little  in  the  diversity  of  levels  and  in  the  very  practical  way  they  are  treated 


Roland  Park — Guilford  District,  Baltimore,  Maryland 

Designed  by  various  well-known  architects  under  the  immediate  direction  of 
an  Advisory  Board  consisting  of  Messrs.  J.  B.  Noel  Wyatt,  Frederick  Law  Olmsted, 
Grosvenor  Atterbury,  Howard  Sill  and  Edward  L.  Palmer,  Jr. 

Ill  ustrations  from  photographs  made  at  the  suggestions  of  the  Board 

TO  get  the  full  flavor  of  this  interesting  excursion  into  domestic  life,  it 
is  well  to  realize  that  Roland  Park  is  the  product  of  many  bright 
minds.  Looking  at  it  by  and  large,  we  note  that  the  Park  is  of  that 
form  of  property  which  varies  considerably  in  outline.  It  cannot  he  classed 
simply  as  a hillside  property.  It  is  a property  of  many  minor  hills  with  many 
perplexing  and  engaging  variations  of  level,  richly  wooded,  but  sufficiently 
high  to  drain  well  within  itself  and  drain  also  away  from  itself.  It  is,  as 
it  were,  a fairy’s  net  to  catch  and  hold  the  glad  sunbeam.  Beginning  with 
the  Goodwood  Gardens,  an  unassuming  but  delightful  sunshiny  section  of 
the  property,  laid  out  by  Mr.  Charles  A.  Platt,  who  is  also  responsible 
for  the  pleasing  house  at  the  corner  of  Hillside  Road;  the  very  nomencla- 
ture of  the  roadways  is  suggestive — Edgevale,  Ridgewood,  Longwood, 
Beachdale,  Valley  Lane,  Oakdale,  etc.  Passing  into  the  more  recently  de- 
veloped section  known  as  Guilford,  likely  to  be  heard  of  at  a distance  for 
its  association  with  Johns  Hopkins  University  and  the  Baltimore  Cathedral, 
we  find  University  Parkway  and  a group  of  houses  of  a Gothic  type. 


417 


418 


THE  VIEW  EMBARRASSES.  THERE  ARE  SO  MANY  QUALITIES  OF  WHICH  WE  MIGHT  WRITE 

Here  is  a house  which,  like  the  pictures  nightly  thrown  upon  the  screen  throughout  this  energetic,  beauty-loving  country,  is  selected  for  its 
attraction.  In  this  case  we  know  its  location,  and  we  realize  that,  attractive  as  it  is,  it  is  but  one  of  a hundred  in  this  city  of  excellent  homes 


ROLAND  PARK— GUILFORD  DISTRICT,  BALTIMORE,  MD. 


419 


“Your  comment  as  to  the  virtue  of  first  impression  holds,”  writes  one. 
“I  like  the  place  more  than  ever!  Last  time  I arrived  at  night.  This  trip, 
thanks  to  some  unexpected  enthusiasm  prompting  an  early  start  and  the 
rapidity  with  which  George  circumnavigated  the  city  at  the  risk  of  police 
displeasure,  permitted  an  early  luncheon  in  the  loggia. 

“George  has  once  again  taken  himself  very  seriously.  His  offense  this 
time  takes  the  shape  of  a small  formal  garden  with  flower  beds  which  to- 
day would  look  lonely  and  detached  were  it  not  for  the  suggestions  of  Mr. 
Olmsted  on  a recent  visit.  The  dahlias  ‘throw  into  contrast,’  to  quote  the 
phrase  much  adopted  of  late,  the  half  shades  of  Flora’s  last  new  dress.  Flora 
blushed  furiously  when  I jollied  her  about  it.  George  is  such  a big  fellow, 
and  to  him  in  this  place  life  is  indeed  pleasant. 

“They  live  in  the  open,  dine  in  the  loggia  and  breakfast  in  the  annex 
to  the  east  room.  I believe  I told  you  it  was  in  a wild,  adventurous  spirit 
that  George  came  here.  He  could  hardly  be  induced  to  live  elsewhere. 
Their  house  embodies  much  of  the  architectural  spirit  of  the  Stenton  House, 
the  home  of  James  Logan  of  Philadelphia.  Sitting  beneath  the  wonderful 
chestnuts,  we  look  across  the  long,  winding  avenues  with  their  unusual  vistas, 
unexpected  climaxes 
and  sharp  turns  made 
interesting  by  a peep  of 
a house,  the  elevation  of 
which  speaks  of  com- 
fort within.  The  most 
enjoyable  thing  in  this 
life  is  its  influence  upon 
children.” 

For  bringing  to  this 
Garden  City  designs  of 
a marked  individual 
character  the  following 
architects  should  be 
thanked:  Fllicott  & 

Emmart,  Wilson  Eyre, 

Laurence  Hall  Fowler, 

Glidden  & Friz,  Owens 
& Sisco,  William  L. 

Price,  James  E.  Lang- 
don,  Wyatt  & Nolting, 
and  Olmsted  Brothers. 


A STRONG  DESIGN  OF  SERIOUS  PROPORTIONS 


Its  seriousness  of  demeanor  is  due  to  direct  planning,  the  in- 
fluence of  which  is  graphically  illustrated  in  the  roofing,  gables 
and  dormers.  Note  subtle  projection  permitting  accent  of  gable 


A Hillside  Garden  House  without  a Name 

Exhibiting  the  traditional  sternness  of  European  proportions  with  a graceful  vesture 
and  sweetness  which  has  become  associated  with  the  New  World,  and  which,  by  virtue 
of  the  breadth  of  its  appeal,  is  known  in  modern  parlance  as  the  magic  word  “ America ” 

AMONG  the  pleasing  perplexities  of  the  collecting  of  the  views  of 
good  houses  is  the  above  illustration,  which  speaks  very  entertain- 
ingly for  itself,  but  of  which  I do  not  know  anything  more  than  the 
picture  discloses.  I am  unable  to  say  who  designed  it,  who  owns  it,  or 
where  it  is  built.  As  though  borne  on  the  receding  wave  among  the  flotsam 
and  jetsam  of  an  editorial  office,  1 found  this  illustration  without  the  cus- 
tomary memoranda  on  the  hack.  It  is  interesting  to  express  my  pleasure 
in  the  design  as  such,  saluting  it  as  a delightful  and  engaging  testimony, 
marking,  so  graciously,  the  development  of  the  country  house  problem.  It 
appears  to  be  the  work  of  a man  unashamedly  romantic,  wide  and  varied  in 
the  liturgies  and  preferences  of  the  world,  naturally  pliant  and  yielding,  as 
all  its  graceful  mantling  of  creepers  very  vividly  shows,  revealing  rather 
than  hiding  the  well-contrived  plan  and  carefully  studied  openings,  which, 
skeleton-like,  are  beneath  the  leaves  and  tendrils.  It  resembles,  in  other 
words,  the  indulgence  of  a bright  mind,  who,  having  paid  liberally  the  trib- 
utes of  his  professional  traditions  in  an  academic  manner,  humanizes  his 
conception  by  adding  just  a little  gold  to  the  drop-curtain  of  his  drama. 
Like  Sargent’s  portraits,  it  mirrors  the  character  so  much  that  we  are  per- 
mitted to  look  through  the  vesting  of  this  house  without  a name  and  see  that 
the  real  requirements  of  the  family  have  been  adhered  to  in  spite  of  its  very 
gracious  smile.  Look  at  it  as  an  ideal!  Examine  it  as  a standard!  Ana- 


420 


A HILLSIDE  GARDEN  HOUSE  WITHOUT  A NAME 


421 


lyze  it!  To  many  the  creepers  speak  first,  as  if  their  needs  had  been  supplied 
by  one  whose  reverence  for  plants  led  to  ardent  worship  as  a fetish.  The 
low  roof  line  is  pleasing.  The  window  openings  are  well  placed,  well  cen- 
tered, and  of  goodly  proportion;  so  are  the  chimneys.  Was  it  not  an  Orien- 
tal prince  who  began  his  palace  by  the  planting  of  a garden?  Princes  of 
a lesser  degree,  the  world  over,  have  adopted  the  same  course. 

This  view  of  someone’s  fair  home  is  thrown  kaleidoscopieally  before  us 
all.  It  is  a house  that  anyone  would  like  to  own,  for  it  is  good  and  likely  to 
wear  well,  and  is  deliciously  stimulating  to  our  innate  love  of  romance. 
There  runs  through  it  all  a delicate  thread,  an  informal  idealization  of  the 
commonplace  and  ordinary.  Like  the  most  vivid  and  satisfactory  drawing — 
perhaps,  I had  better  say,  the  most  wholesome  illustration  of  the  American 
heroine,  who  has  become  more  healthy  and  robust  of  late,  expanding  in  waist 
measure  as  well  as  brains — this  type  of  architecture  avoids  over-emphasis,  the 
product  of  an  abnormal  imagination  and  eccentric  character,  and  takes  ad- 
vantage of  an  agreeable  setting.  The  view  also  shows  an  excellent  courtyard 
of  a workable  kind,  liberal  in  size,  and  so  shaped  as  to  go  well  with  and 
furnish  entrance  to  the  enclosed  garden  on  the  right  and  the  larger  garden 
or  lawn  on  the  left. 

At  the  risk  of  appearing  to  assume  the  prerogative  of  the  preacher  or 
public  lecturer,  should  we  not  remember  that  it  takes  a strong  man  to  make 
a strong  house?  This  memorandum  of  an  idea  resembles  the  passionate  mon- 
ologue of  the  lover  who  whispers  his  appeal  with  amazing  tenderness.  Hard 
as  it  is  for  the  lover  to  “deliver  the  goods”  living  even  within  sight  of  his  fan- 
tastic promises,  so  is  it  difficult  for  the  artist  to  realize  the  potency  of  his 
dreams.  In  other  words,  personality  counts ! And  character  counts!  Men 
die;  houses  live  from  generation  to  generation. 


LIST  OF  SUBJECTS  ILLUSTRATED 


Note: — This  is  the  list  of  properties  regarding  which  the  owners  have  kindly  permitted  the  pres- 
entation of  pertain  interesting  views  and  information.  For  the  same  stories  indexed  under  the  name 
of  the  architect,  reference  should  be  made  to  the  List  of  Architects  on  pages  xi — xvii. 


ADLER,  Mr.  E.  A.,  home  at  Oeonomo- 

woc  Lake,  Wis 277 

Alexander,  Mrs.  C.  B.,  home  at  Bernards- 

ville,  N.  J 26-33 

Alger,  Miss  Louise,  home  at  Great  Neck, 

L.  1 376 

Alger,  Mr.  Russell  A.,  home  at  Detroit, 

Mich 34-41 

BABCOCK,  Mr.  Orville,  home  at  Lake 

Forest,  111 172 

Babcock,  Mr.  Orville,  stable  at  Lake  For- 
est, 111 276 

Bacon,  Mr.  G.  W.,  home  at  St.  James,  L.  I.  280,368 
Barrell,  Mr.  Finley,  home  at  Lake  Forest, 

111 227-229 

Bartlett,  Mr.  A.  C.,  home  at  Lake  Forest, 

111 46-51 

Beale,  Mr.  L.  T.,  home  at  St.  David’s,  Pa.  373 
Blair,  Mr.  J.  A.,  garden  at  Oyster  Bay, 

L.  I '. 370 

Borland,  Mr.  W.  G.,  home  at  Mount  Kisco, 

N.  Y 20-25 

Bourne,  Mr.  F.  G.,  home  at  Oakdale,  I..  I.  236 
Brewster,  Mr.  R.  S.,  home  at  Mount  Kisco, 

N.  Y 118-123 

Brown,  Mr.  A.  M.,  home  at  St.  James, 

L.  1 367 

Burgess,  Mr.  L.  J.,  home  at  Zanesville,  O.  140-143 
Byers,  Mr.  J.  F.,  home  near  Pittsburgh, 

Pa 423 

CARPENTER,  Mr.  H„  home  at  Lake 

Geneva,  Wis 96-97 

Chisholm,  Mr.  A.  S.,  home  at  Cleveland,  O.  171 
Choate,  Mr.  Joseph  H.,  garden  at  Stock- 

bridge,  Mass 342-345 

Churchill,  Mr.  Winston,  home  at  Cornish, 

N.  H 226 

Clark,  Mr.  C.  Howard,  Jr.,  home  at 

Devon,  Pa 102-107 

Coffin,  Mr.  C.  A.,  home  at  Locust  Valley, 

L.  I 108-111 

Collier,  Mrs.  P.  F.,  home  at  Southampton, 

L.  1 246-249 

Collier,  Mr.  R.  J.,  home  at  Wicatunk, 

N.  ,T 250-261 

Cooper,  Mr.  Clayton  S.,  home  at  Fieldston, 

N.  J 130-131 

Coryell,  Mr.  J.  B.,  stables  on  estate  at 
Menlo  Park,  Cal 150-155 

DALTON,  Mr.  H.  G.,  home  at  Cleve- 
land, O 369 

Davidson,  Mr.  George,  home  at  Madison, 

N.  J 166 


Delano,  Mr.  W.  A.,  home  at  Brookville, 

L.  1 14-19 

Duncan,  Mr.  Stuart,  home  at  Newport, 

R.  1 356-365 

du  Pont,  Mr.  A.  I.,  home  at  Wilmington, 

Del 282 

EASTMAN,  Mr.  George,  home  at  Roches- 
ter, N.  Y 322-325 

Ellis,  Mr.  R.  M.,  home  at  Great  Neck, 

L.  1 231 

FIELD,  Mr.  W.  B.  Osgood,  home  at 

Lenox,  Mass 192-197 

Fitz,  Mrs.  W.  Scott,  garden  at  Manches- 

ter-by-the-Sea,  Mass 396 

Forest  Hills  Gardens,  Forest  Hills,  L.  I.. . 406-415 

GARDEN  CITY,  L.  I.,  house  at 170 

Gardener’s  Cottage,  St.  Martins,  Pa 148-149 

Gardner,  Mr.  C.  E.,  home  at  Lawrence 

Park,  N.  Y 168 

Gardner,  Mrs.  John  L.,  garden  at  Brook- 
line, Mass 336-339 

Garver,  Mr.  John  A.,  home  at  Oyster  Bay, 

L.  I 74-83 

Gould,  Mr.  Howard,  home  at  Port  Wash- 
ington, L.  1 312 

Graham,  Miss  T.  IT.,  home  at  Pasadena, 

Cal 56-59 

Grew,  Mrs.  Edward  S.,  garden  at  Man- 

chester-by-the-Sea,  Mass 397 

Griscom,  Mr.  Lloyd  C’.,  home  at  Norwich, 

L.  1 42-45 

HANSON,  Mr.  Guido,  home  at  Pine 

Lake,  Wis 144-147 

Harper,  Mr.  W.  Warner,  home  at  Chest- 
nut Hill,  Pa 302-303 

Hastings,  Mr.  Thomas,  home  at  Roslyn, 

L.  I 198-207 

Heilner,  Mr.  Samuel,  estate  at  Corno, 

N.  Y 401 

Hewlett,  L.  I.,  house  at 372 

Hitt,  Mrs.  Robert  R.,  home  at  Washing- 
ton, D.  C 304-311 

Houghton,  Mr.  R.  W.,  home  at  Nashotah, 

Wis 66-73 

Hoyt,  Mr.  Edward  C.,  home  at  Stamford, 

Conn 112-117 

Huntington,  Mr.  H.  E.,  home  at  Pasadena, 

Cal.  371 

Hutcheson,  Rev.  Joseph,  home  at  War- 
ren, R.  1 136-139 


422 


LIST  OF  SUBJECTS  ILLUSTRATED 


423 


JENNINGS,  Mr.  P.  B.,  home  at  Benning- 
ton, Vt 268-275 

Johnson,  Mr.  Bradish,  home  at  Islip,  L.  I.  400 

Jones,  Mr.  Pembroke,  the  North  Carolina 

estate  of  156-165 

KERR,  Mr.  Thomas,  home  at  White 
Plains,  N.  Y 124-129 

LEITER,  Mrs.  L.  Z.,  stable  on  estate  at 

Beverly  Farms,  Mass 234 

MacDONALD,  Mr.  C.  B.,  home  at  South- 
ampton, L.  1 184-191 

McBirney,  Mr.  Hugh  J.,  home  at  Lake 

Forest,  111 98-101 

McCahan,  Mr.  W.  J.,  home  at  Moorestown, 

N.  J 289-299 

McGoodwin,  Mr.  R.  R.,  home  at  St.  Mar- 
tins, Pa 169 

Markwall,  Mr.  A.  W.,  home  at  Short  Hills, 

N.  J 167 

Mather,  Mr.  W.  G.,  home  at  Cleveland,  O.  132-135 
Morris,  Mr.  Edward,  home  at  Chicago,  111.  237 

Murphv,  Mr.  Franklin,  home  at  Mendham, 

N.  j!  292-297 

NEWELL,  Mr.  E.  R.,  home  at  Greenwich, 

Conn 262-267 

OLCOTT,  Mr.  Chauncey,  home  at  Sara- 
toga, N.  Y 281 

PARMELEE,  Mr.  James,  home  at  Wash- 
ington, D.  C. 208-217 

Pratt,  Mr.  Herbert  L.,  home  at  Glen  Cove, 

L.  1 218-225 

Proctor,  Mr.  Charles  E.,  home  at  Great 
Neck,  L.  1 84-95 

RHOADS,  Mr.  Samuel  N.,  home  at  Had- 

donfleld,  N.  J 375 

Rhodes,  Mr.  James  M.,  home  at  Ardmore, 

Pa 340-341 


Rockefeller,  Mr.  John  D.,  estate  at  Po- 

eantico  Hills,  N.  Y 378-381 

Roland  Park-Guilford  District,  Baltimore, 

Md 416-419 

Rossiter,  Mr.  A.  W.,  home  at  Glen  Cove, 

L.  1 60-65 

Runton  Old  Hall,  Norfolk,  England  ...  300-301 

Russell,  Mr.  E.  W.,  home  at  Greenwich, 

Conn 284-291,313 

SAGAMORE  PARK,  studio  building  at. . 238 

Salisbury,  Mr.  Warren,  home  near  Pitts- 
field, Mass 332-335 

Schneider,  Mr.  Charles  S.,  home  at  Cleve- 
land, 0 374 

Spaulding,  Messrs.  W.  S.  and  J.  T.,  estate 

at  Prides  Crossing,  Mass 394-395 

Straight,  Mr.  Willard,  stable  on  estate  at 

Westbury,  L.  1 235 

THEURER,  Mr.  P.  S.,  home  at  Pine 

Lake,  Wis 230 

Thorne,  Mr.  Chester,  estate  near  Tacoma, 

Wash 346-349 

Thorne,  Mr.  G.  R.,  home  at  Lake  Forest, 

111 52-55 

Townsend,  Mr.  J.  M.,  Jr.,  home  at  Mill 
Neck,  L.  1 278-279 

WALKER,  Mr.  W.  H„  home  at  Great 

Barrington,  Mass 316,  326-331 

Watson,  Miss  Emilv,  home  at  White 

Plains,  N.  Y .' 232-233 

Wells,  Mr.  Storrs,  garden  at  Newport, 

R.  1 350-355 

White,  Mr.  G.  It.,  home  at  Manchester- 

by-the-Sea,  Mass 318-321 

White,  Mr.  Henry,  home  at  Washington, 

D.  C ‘ 174-183 

Winthrop,  Mr.  Bronson,  home  at  Syosset, 

L.  I 4-13 

Winthrop,  Mr.  E.  L.,  Jr.,  home  at  Svosset, 

L.  I '. 240-245 


Replying  to  the  question  “Do  Architects  Read?” 
Mr.  George  B.  Post,  the  venerable  dean  of  the 
profession,  said:  “The  architect  must  he  a prolific 
reader.  I do  not  see  how  he  can  get  on  without 
reading.  I know  I cannot.  I do  not  know  of  any 
class  of  men  who  read  more  and  who,  indeed, 
require  it,  considering  the  subjects  they  are  com- 
pelled to  study.  For  the  architect  must  know 
about  construction,  trade  building  conditions,  real 
estate  values,  engineering,  and  of  course  he  must 
be  well  informed  in  all  matters  connected  with 
architecture  and  the  allied  arts.  I read  every- 
thing I can  get  hold  of,  from  popular  fiction  to 
modern  and  specialized  science.  Examine,  if  you 
please,  the  list  of  men  engaged  in  big  national 
affairs,  and  you  will  find  prominently  among  them 
the  leading  architects  of  our  day.  I fail  to  see 
how  the  non-reader  could  possibly  keep  abreast 
of  the  times.  Look  at  the 
diversified  nature  of  an 
architect’s  general  prac- 
tice. Here  is  a letter 
from  Mr.  French,  the 
well-known  sculptor,  re- 
questing me  to  call  at  the 
studio  to  see  the  finial  he 
is  working  on  for  the 
Wisconsin  State  Capitol. 

I am  not  a,  sculptor,  but 
the  responsibility  of  final 
decision  rests  with  me. 

The  silhouette  must  be 
acceptable  when  viewed 
from  every  frontage.  It 
must  scale  with  things.” 


Mr.  William  L.  Price, 
whose  quiet  banter  and 
gentle  raillery  are  re- 
freshing, writes: 

“In  regard  to  my  read- 
ing and  its  relation  to 
architecture,  I have,  of 
course,  read  many  archi- 
tectural books  and  arti- 
cles. I have  pawed  over 
in  writings,  in  pictures, 
and  in  travel  much  of  the 
scrap  heap  of  the  past.  1 
have,  as  most  young  men 
do,  hoped  to  take  up  the 
tools  of  the  medieval  and 
Renaissance  craftsmen, 

and  I have,  I hope,  absorbed  something  of  their 
knowledge,  and  spirit.  But  I feel  that  architec- 
tural history  is  much  like  other  history,  which,  as 
Mr.  Dooley  says,  is  a kind  of  post  mortem  exami- 
nation. It  tells  what  architecture  died  of  and, 
like  Dooley,  ‘I  want  to  hear  what  a counthry  lived 
of,  and  not  pliwat  it  died  of.’  If  the  writers  on 
architecture  would  or  could  tell  us  rather  why  the 
men  of  the  past,  did  things  than  what  they  did,  it, 
would  help  more.  As  it  is,  I do  not  find  myself 
reading  much  archaeology.  I read  a thousand 
words  of  the  architecture,  of  the  present  to  one  of 
the  past,  for  all  vital  literature  and  even  news  of 
to-day  has  to  do  with  the  architecture  of  to-day  if 
it,  is  to  be  real  live  architecture.” 


Mr.  Walter  Cook,  the  distinguished  and  worthy 
president  of  the  American  Institute  of  Architects, 
replied  in  that  singularly  quiet  voice  of  his: 

“As  I was  saying  the  other  day,  this  is  an  age 
of  undue  specialization.  Reading  doubtless  does 
much  to  increase  the  mental  horizon  of  the  archi- 
tect by  broadening  his  interest  and  extending  his 
knowledge  to  a far  wider  and  ever-increasing  area. 
For  instance,  anil  as  an  illustration  comparing  him 
with  other  workers  in  kindred  endeavors,  I remem- 
ber how  it  was  at  the  Beaux  Arts  School  years  ago 
when  many  of  the  students  there  visited  the  con- 
certs and  lectures  on  music.  The  question  then 
engrossing  Paris  was — Wagner,  Wagner  the  icono- 
clast, dazzling  with  his  brilliancy.  Was  this  man  a 
genius?  The  city  was  wild.  Students  crowded 
the  halls.  You  see,  Wagner  was  the  first  musician 
to  search  in  a book  of  philosophy  for  inspiration 
to  bring  music  to  the  very 
soul  of  man.  The  au- 
dience would  contain  ten 
architects  to  three  or  four 
painters  and  sculptors,  or 
in  this  proportion.  All- 
round men  are  demanded. 
I view,  therefore,  with 
considerable  interest  any 
attempt  to  make  the  ar- 
chitect broad,  scholarly 
and  up-to-date,  and  equip 
him  for  the  world.  When 
you  ask  if  he  reads,  I 
say  yes,  more  so  than 
does  the  musician  and 
other  artists.” 


Mr.  Ralph  Adams  Cram 
writes:  “Architects  do 

read,  and  probably  more 
wisely  and  widely  than 
almost  any  other  class  of 
men.  They  have  to.  If 
they  are  real  architects 
they  are  expressing 
through  their  art,  not  so 
much  their  own  personal 
predilections  and  their 
own  personality  as  the 
essential  elements  in 
whatever  lies  behind  the 
thing  they  are  trying  to 
put  into  material  form. 
The  architect,  in  the  best 
sense,  is  the  spokesman  of  society,  of  the  best,  that 
is  in  society,  not  the  worst,  and  he  can’t  possibly 
discharge  this  duty  unless  he  is  intimately  familiar, 
not,  alone  with  contemporary  life,  but  with  all  the 
important  tendencies  or  accomplishments  that  are 
its  foundation. 

“Of  course,  for  my  own  part,  I read  all  the  time, 
or  rather  every  minute  of  time  I can  get  from 
office  duties  and  social  obligations.  There  are  some 
books  I read  every  year,  whatever  happens;  for 
example,  Stevenson’s  ‘ Treasure  Island,’  Chester- 
ton’s ‘The  Napoleon  of  Notting  Hill,’  Meredith’s 
‘The  Shaving  of  Shagpat ,’  Sir  Thomas  Browne’s 
‘Religio  Medici,’  and  Henry  Adams’  ‘Mt,  St,  Michel 
and  Chartres.’  I read  all  I can  of  Chesterton.” 


424 


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NEW  YORK 


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